In classical guitar repertoire, there will be a "PIMA" marking for the picking hand fingers (right hand for right handed players), which indicate which finger to use:
Pulgar, or thumb.
Indice, or index finger.
Medio, or middle finger.
Anular, or ring finger.
These four are the ones that are used most frequently. Sometimes, the fourth finger is used, in which it is marked either C, X or E.
Typically, the thumb has a down-picking motion and the fingers have an up-picking motion.
Thursday, November 12, 2009
Fingerpicking
Fingerpicking is a method of playing the guitar where you use your thumb and at least one other finger to pick or pluck notes, using your fingernails, fingerpicks or fingertips. Talented players can use all five fingers on their picking hand, but
many players only use four fingers and use their pinky finger as a brace on the guitar. Most classical guitarists alter the shape of their picking hand fingernails for the purpose of producing a desired sound, however this is not necessary in
non-classical music; one can purchase fingerpicks to fit on the hand.
Generally fingerpicking involves picking through chords organized in a melody. Fingerpicking is used extensively in folk guitar and classical guitar, but it is also common in other genres.
Fingerpicking is surprisingly easy on an electric guitar, which is strange because fingerpicking is often regarded as an acoustic style. The player may hold his or her picking hand's fourth finger against the right edge (left edge on a
left-handed guitar), and if it is held straight and steady, this technique may be used to brace the hand. This technique is called anchoring, and is frowned upon by some players. It is possible on acoustic guitars by using the bridge similarly,
but this is not as effective as it will deaden the sound. Classical guitarists never anchor while playing.
When strumming with individual fingers, general rule is move the wrist only if the thumb is used, while if any other finger is used, only said finger will be used.
When you start trying to learn, your finger coordination will be terrible and it is easy to be discouraged. It takes several weeks to let your muscles develop, but if you practice using all your fingers at once your overall dexterity will increase
much faster.
many players only use four fingers and use their pinky finger as a brace on the guitar. Most classical guitarists alter the shape of their picking hand fingernails for the purpose of producing a desired sound, however this is not necessary in
non-classical music; one can purchase fingerpicks to fit on the hand.
Generally fingerpicking involves picking through chords organized in a melody. Fingerpicking is used extensively in folk guitar and classical guitar, but it is also common in other genres.
Fingerpicking is surprisingly easy on an electric guitar, which is strange because fingerpicking is often regarded as an acoustic style. The player may hold his or her picking hand's fourth finger against the right edge (left edge on a
left-handed guitar), and if it is held straight and steady, this technique may be used to brace the hand. This technique is called anchoring, and is frowned upon by some players. It is possible on acoustic guitars by using the bridge similarly,
but this is not as effective as it will deaden the sound. Classical guitarists never anchor while playing.
When strumming with individual fingers, general rule is move the wrist only if the thumb is used, while if any other finger is used, only said finger will be used.
When you start trying to learn, your finger coordination will be terrible and it is easy to be discouraged. It takes several weeks to let your muscles develop, but if you practice using all your fingers at once your overall dexterity will increase
much faster.
Tirando Strikes
When performing a tirando, or shooting splinter strike, the finger does not affect the next string at all. this is the opposite of apoyando.
Apoyando Strikes
Apoyando, or splinter rested, involves the finger picking through a string such that the finger stops when resting on the next string. This technique produces a strong, loud tone, and is considered the opposite of Tirando.
Finger Strumming
Players wishing not to use a pick may try finger strumming. This is accomplished by holding the picking hand's first finger to the thumb, much as one might hold a pick, and striking the strings with the first fingernail. Anything in this book written for a pick can just as easily be played by finger strumming.
Using a pick
The primary advantages of the pick are its speed, its ease of striking large chords and, because the fingernails and fingertips are not involved, its preservation of player's picking hand. Furthermore, use of a pick makes a louder and brighter sound. Its primary disadvantage is its imprecision, making muting strings necessary. Also, if the player wishes to switch to the tapping style, he or she can tap with or with out the pick: to tap with the pick just put it on its side and tap it on the desired fret. However, tapping with a pick makes it harder to tap on multiple strings.
Tuesday, November 10, 2009
Using the Pentatonic Scale to Solo
Once you get comfortable using the pentatonic scale patterns, you'll want to try and start incorporating them into your solos, to allow you to solo in one key all over the fretboard of the guitar. Try sliding from note to note in the scale, or bending notes, to help find inspiration. Find a few riffs you like in positions you're not used to playing in, and incorporate those into your guitar solos.
How to use pentatonic scales
Once you've memorized the five positions of the pentatonic scale, you'll need to begin exploring how to use them in your music.
One of the best ways to start becoming comfortable with a new scale or pattern is to try and create a few interesting "riffs" with that scale. So, for example, try creating a few guitar riffs using the G minor pentatonic scale in the third position (beginning on the 8th fret). Strum a G minor chord, then play with the notes in the pattern until you find something you like. Try doing this for all five positions of the scale.
One of the best ways to start becoming comfortable with a new scale or pattern is to try and create a few interesting "riffs" with that scale. So, for example, try creating a few guitar riffs using the G minor pentatonic scale in the third position (beginning on the 8th fret). Strum a G minor chord, then play with the notes in the pattern until you find something you like. Try doing this for all five positions of the scale.
Monday, November 9, 2009
Right Hand Picking Position,
"First, when playing notes on the 1st few strings, lightly touch the palm of your right hand (near the thumb) on the lower strings (5th and 6th). You are NOT resting. There is a difference. You want to feel the strings on your palm, but do not anchor yourself and press down. The palm of your hand should float on the surface of the strings."
------PIC touching-hand, righ-hand-pos-side, righ-hand-pos-front
"Here are the reasons for using this hand position.
1. Being able to feel the strings on the palm of your hand will help you judge where the strings are more easily. If your hand is completely in the air, you would have a harder time finding and picking the correct string.
2. You are trying to develop a picking motion that comes from your wrist, not your fingers or arm. Touching the strings helps you in the development of this movement.
3. Noise reduction. Touching the strings lightly will reduce the amount of stray noise from the strings other than the one you are picking.
Obviously you can not touch the string when you are picking your 5th or 6th strings. But you can maintain the same hand position. One way to think about your hand position when you are picking your 5th and 6th string is this. Pretend that you are touching your right hand where the 7th and 8th strings would be if you had an 8 string guitar.
As you are picking, try to use as little motion as possible to get the job done. Don't let the tip of the pick drop too far below the surface of the strings. You can pick both down and up. The direction will depend on the rhythm and other factors.
When you are strums chords, your right hand will not touch the strings. You are going to keep your hand in the air and strum using your arm and wrist.
------PIC touching-hand, righ-hand-pos-side, righ-hand-pos-front
"Here are the reasons for using this hand position.
1. Being able to feel the strings on the palm of your hand will help you judge where the strings are more easily. If your hand is completely in the air, you would have a harder time finding and picking the correct string.
2. You are trying to develop a picking motion that comes from your wrist, not your fingers or arm. Touching the strings helps you in the development of this movement.
3. Noise reduction. Touching the strings lightly will reduce the amount of stray noise from the strings other than the one you are picking.
Obviously you can not touch the string when you are picking your 5th or 6th strings. But you can maintain the same hand position. One way to think about your hand position when you are picking your 5th and 6th string is this. Pretend that you are touching your right hand where the 7th and 8th strings would be if you had an 8 string guitar.
As you are picking, try to use as little motion as possible to get the job done. Don't let the tip of the pick drop too far below the surface of the strings. You can pick both down and up. The direction will depend on the rhythm and other factors.
When you are strums chords, your right hand will not touch the strings. You are going to keep your hand in the air and strum using your arm and wrist.
What are Pentatonic Scales?
The pentatonic scale is one of the most commonly used scales used in music. The pentatonic scale is used both for soloing, and for basing song riffs around. Guitarists with an interest in learning to play lead guitar must learn their pentatonic scales.
A pentatonic scale consists of just five notes. This differs from many "traditional" scales, which often have seven (or more) notes. The fewer number of notes in the pentatonic scale can be helpful to the beginner guitarist - the scale omits some of the "trouble" notes found in traditional major and minor scales that can end up sounding wrong if not used properly.
One of the beauties of the pentatonic scale on guitar is that the major and minor versions of the scale have the same shape, they're just played in different locations on the fretboard. This can be tricky to understand at first, but will become clear with practice
In order to learn the minor pentatonic scale patterns all over the guitar fretboard, we must first learn the scale on one string.
Start by picking a fret on the sixth string of your guitar - let's try the fifth fret (the note "A"). Play that note. This corresponds to the first note on the bottom left of the accompanying diagram. Then, slide your finger up three frets, and play that note. Then, move up two frets, and play that note. And, then move up two frets again, and play that note. Now move up three frets, and play that note. Finally, move up two frets, and play that note. This last note should be the octave of the first note you played. If you counted correctly, you should be at the 17th fret of your guitar. Once you've done this, try playing back down the fretboard, in reverse order, until you arrive back at the fifth fret. Keep doing this until you can play the scale pattern by memory.
you've just learned the A minor pentatonic scale. Strum an A minor chord... it should sound like it "fits" the scale you just played. Now, try playing the scale again, except this time, when you get to the 17th fret, try playing up the scale one note higher. Since the first and last notes of the pentatonic scale are the same note (an octave up), you can just begin repeating the pattern to play further up the string. So, in this case, the next note of the scale would be up three frets, or all the way up to the 20th fret. The note after that would be at the 22nd fret.
You can use this pattern to play the minor pentatonic scale anywhere on the guitar fretboard. If you started the scale pattern on the third fret of the sixth string, it would be the G minor pentatonic scale, since you started the pattern on the note G. If you started the scale on the third fret of the fifth string (the note "C"), you'd be playing the C minor pentatonic scale.
Start by playing the fifth fret of the sixth string (the note "A"). Play that note. Now, we're going to use the pattern we just learned for the minor pentatonic scale, except in this case, we'll start on the second note from the pattern. So, slide your finger up the string two frets to the seventh fret, and play that note.
Now, slide up two frets, and play that note. Slide up three frets, and play that note. Then, slide up two frets, and play that note (you'll note that we're now at the end of the diagram above). Slide up three final frets, and play that note. You should be at the 17th fret (the note "A"). Now, play the scale back down the fretboard, until you arrive again at the fifth fret. You've just played an A major pentatonic scale. Strum an A major chord - it should sound like it "fits" with the scale you just played.
You should spend time playing both the major and minor pentatonic scales. Try strumming an A minor chord, then playing the A minor pentatonic scale up the sixth string. Then, play an A major chord, and follow it with the A major pentatonic scale.
To play the minor pentatonic scale, start with your first finger on the fifth fret of the sixth string. Play that note, then put your fourth (pinky) finger on the eighth fret of the sixth string, and play that. Continue to play the scale, being sure to play all notes on the seventh fret with your third finger, and notes on the eighth fret with your fourth finger. When you've finished playing the scale forwards, play it in reverse.
You've just played an A minor pentatonic scale. The scale we played was an A minor pentatonic scale because the first note we played (sixth string, fifth fret) was the note A.
Now, let's use the exact same scale pattern to play an A major pentatonic scale, which has a totally different sound. To use this pattern as a major pentatonic scale, the root of the scale is played by your fourth finger on the sixth string.
So, to play the A major pentatonic scale, position your hands so that your fourth finger will play the note "A" on the sixth string (which means your first finger will be at the second fret of the sixth string). Play the scale pattern forwards and backwards. You're now playing an A major pentatonic scale. Strum an A major chord - it should sound like it "fits" with the scale you just played.
We're going to play the A minor pentatonic scale in the second position. Start by playing the "A" on the fifth fret of the sixth string. Now, slide up three frets on the sixth string, to the second note of the scale (the eighth fret, in this case). The pentatonic scale pattern appearing on this page begins here.
Play the first note of this pattern with your second finger. Continue playing the pentatonic scale pattern as outlined in the diagram. When you've reached the top of the scale, play it backwards. Be sure to follow the fingering outlined above, and to memorize the scale as you play it.
You've just played an A minor pentatonic scale, in second position. Getting comfortable with playing this scale can be tricky - although it's an A minor pentatonic scale, the pattern starts on the note "C", which can be disorienting at first. If you're having trouble, try playing the root note, sliding up on the sixth string to the second note, and playing the second position pattern.
To use this pattern as a minor pentatonic scale, the root of the scale is played by your first finger on the fourth string. To use this pattern as a major pentatonic scale, the root of the scale is played by your second finger on the sixth string.
Begin the pattern with your second finger on the sixth string. This is the only pentatonic scale pattern that requires a "position shift" - when you reach the second string, you'll need to shift your hand up one fret. When you play back down the scale, you'll need to change position again, when you reach the third string. Play the scale forwards and backwards, until you've memorized it.
To use this pattern as a minor pentatonic scale, the root of the scale is played by your fourth finger on the fifth string. To use this pattern as a major pentatonic scale, the root of the scale is played by your second finger on the fourth string.
Play this scale slowly and evenly, backwards and forwards, until you've memorized the pattern. Strum an A minor chord, then play this fourth position of the A minor pentatonic scale... the two should sound like they "fit".
To use this pattern as a minor pentatonic scale, the root of the scale is played by your first finger on the fifth string. To use this pattern as a major pentatonic scale, the root of the scale is played by your fourth finger on the fifth string.
then up two frets to the fourth note of the scale, then up three frets to the 15th fret, where we'll begin to play the above pattern.
Play this scale slowly and evenly, starting with your second finger, backwards and forwards, until you've memorized the pattern.
To use this pattern as a minor pentatonic scale, the root of the scale is played by your fourth finger on the sixth string. To use this pattern as a major pentatonic scale, the root of the scale is played by your second finger on the fifth string.
A pentatonic scale consists of just five notes. This differs from many "traditional" scales, which often have seven (or more) notes. The fewer number of notes in the pentatonic scale can be helpful to the beginner guitarist - the scale omits some of the "trouble" notes found in traditional major and minor scales that can end up sounding wrong if not used properly.
One of the beauties of the pentatonic scale on guitar is that the major and minor versions of the scale have the same shape, they're just played in different locations on the fretboard. This can be tricky to understand at first, but will become clear with practice
Start by picking a fret on the sixth string of your guitar - let's try the fifth fret (the note "A"). Play that note. This corresponds to the first note on the bottom left of the accompanying diagram. Then, slide your finger up three frets, and play that note. Then, move up two frets, and play that note. And, then move up two frets again, and play that note. Now move up three frets, and play that note. Finally, move up two frets, and play that note. This last note should be the octave of the first note you played. If you counted correctly, you should be at the 17th fret of your guitar. Once you've done this, try playing back down the fretboard, in reverse order, until you arrive back at the fifth fret. Keep doing this until you can play the scale pattern by memory.
you've just learned the A minor pentatonic scale. Strum an A minor chord... it should sound like it "fits" the scale you just played. Now, try playing the scale again, except this time, when you get to the 17th fret, try playing up the scale one note higher. Since the first and last notes of the pentatonic scale are the same note (an octave up), you can just begin repeating the pattern to play further up the string. So, in this case, the next note of the scale would be up three frets, or all the way up to the 20th fret. The note after that would be at the 22nd fret.
You can use this pattern to play the minor pentatonic scale anywhere on the guitar fretboard. If you started the scale pattern on the third fret of the sixth string, it would be the G minor pentatonic scale, since you started the pattern on the note G. If you started the scale on the third fret of the fifth string (the note "C"), you'd be playing the C minor pentatonic scale.
Learning the major pentatonic scale is easy once you've learned the minor pentatonic scale - the two scales share all the same notes! The major pentatonic scale uses the exact same pattern as the minor pentatonic scale, it simply starts on the second note of the pattern.
Start by playing the fifth fret of the sixth string (the note "A"). Play that note. Now, we're going to use the pattern we just learned for the minor pentatonic scale, except in this case, we'll start on the second note from the pattern. So, slide your finger up the string two frets to the seventh fret, and play that note.
Now, slide up two frets, and play that note. Slide up three frets, and play that note. Then, slide up two frets, and play that note (you'll note that we're now at the end of the diagram above). Slide up three final frets, and play that note. You should be at the 17th fret (the note "A"). Now, play the scale back down the fretboard, until you arrive again at the fifth fret. You've just played an A major pentatonic scale. Strum an A major chord - it should sound like it "fits" with the scale you just played.
You should spend time playing both the major and minor pentatonic scales. Try strumming an A minor chord, then playing the A minor pentatonic scale up the sixth string. Then, play an A major chord, and follow it with the A major pentatonic scale.
The first position of the pentatonic scale is one that may look familiar to some of you - it looks very similar to a blues scale.
To play the minor pentatonic scale, start with your first finger on the fifth fret of the sixth string. Play that note, then put your fourth (pinky) finger on the eighth fret of the sixth string, and play that. Continue to play the scale, being sure to play all notes on the seventh fret with your third finger, and notes on the eighth fret with your fourth finger. When you've finished playing the scale forwards, play it in reverse.
You've just played an A minor pentatonic scale. The scale we played was an A minor pentatonic scale because the first note we played (sixth string, fifth fret) was the note A.
Now, let's use the exact same scale pattern to play an A major pentatonic scale, which has a totally different sound. To use this pattern as a major pentatonic scale, the root of the scale is played by your fourth finger on the sixth string.
So, to play the A major pentatonic scale, position your hands so that your fourth finger will play the note "A" on the sixth string (which means your first finger will be at the second fret of the sixth string). Play the scale pattern forwards and backwards. You're now playing an A major pentatonic scale. Strum an A major chord - it should sound like it "fits" with the scale you just played.
Here is why it was important to learn the pentatonic scale on one string. We're going to learn how to play the pentatonic scale in the "second position" - which means the first note in the position is the second note in the scale.
We're going to play the A minor pentatonic scale in the second position. Start by playing the "A" on the fifth fret of the sixth string. Now, slide up three frets on the sixth string, to the second note of the scale (the eighth fret, in this case). The pentatonic scale pattern appearing on this page begins here.
Play the first note of this pattern with your second finger. Continue playing the pentatonic scale pattern as outlined in the diagram. When you've reached the top of the scale, play it backwards. Be sure to follow the fingering outlined above, and to memorize the scale as you play it.
You've just played an A minor pentatonic scale, in second position. Getting comfortable with playing this scale can be tricky - although it's an A minor pentatonic scale, the pattern starts on the note "C", which can be disorienting at first. If you're having trouble, try playing the root note, sliding up on the sixth string to the second note, and playing the second position pattern.
To use this pattern as a minor pentatonic scale, the root of the scale is played by your first finger on the fourth string. To use this pattern as a major pentatonic scale, the root of the scale is played by your second finger on the sixth string.
In order to play the third position of the minor pentatonic scale, count up to the third note of the scale on the sixth string. To play an A minor pentatonic scale in the third position, start at "A" on the fifth fret, then up three frets to the second note of the scale, then up two frets to the 10th fret, where we'll begin to play the above pattern.
Begin the pattern with your second finger on the sixth string. This is the only pentatonic scale pattern that requires a "position shift" - when you reach the second string, you'll need to shift your hand up one fret. When you play back down the scale, you'll need to change position again, when you reach the third string. Play the scale forwards and backwards, until you've memorized it.
To use this pattern as a minor pentatonic scale, the root of the scale is played by your fourth finger on the fifth string. To use this pattern as a major pentatonic scale, the root of the scale is played by your second finger on the fourth string.
In order to play the fourth position of the minor pentatonic scale, count up to the fourth note of the scale on the sixth string. To play an A minor pentatonic scale in the fourth position, start at "A" on the fifth fret, then count up three frets to the second note of the scale, then up two frets to the third note of the scale, then up two frets to the 12th fret, where we'll begin to play the above pattern.
Play this scale slowly and evenly, backwards and forwards, until you've memorized the pattern. Strum an A minor chord, then play this fourth position of the A minor pentatonic scale... the two should sound like they "fit".
To use this pattern as a minor pentatonic scale, the root of the scale is played by your first finger on the fifth string. To use this pattern as a major pentatonic scale, the root of the scale is played by your fourth finger on the fifth string.
In order to play the fifth position of the minor pentatonic scale, count up to the fifth note of the scale on the sixth string. To play an A minor pentatonic scale in the fifth position, start at "A" on the fifth fret, then count up three frets to the second note of the scale, then up two frets to the third note of the scale,
then up two frets to the fourth note of the scale, then up three frets to the 15th fret, where we'll begin to play the above pattern.
Play this scale slowly and evenly, starting with your second finger, backwards and forwards, until you've memorized the pattern.
To use this pattern as a minor pentatonic scale, the root of the scale is played by your fourth finger on the sixth string. To use this pattern as a major pentatonic scale, the root of the scale is played by your second finger on the fifth string.
Saturday, November 7, 2009
How to use Pick
If you watch 10 different guitar players, you are going to see 10 different ways that
they approach picking. If you take 10 different guitar lessons from 10 different
teachers, you are going to learn that the "correct" way to pick can very greatly. With
that said, I am going to write about what I feel is the best way to approach your right
hand picking technique. Just remember that the 9 other teachers/players may
disagree.
Choosing a guitar pick
First, what kind of pick should you use? This is really a matter of personal taste.
After you have been playing for a little while, I would start experimenting with
different shapes and gauges. But if you are just starting out, I would use a standard
size, and a medium thickness. You may want to look for a brand of pick that has a
little bit of a texture to it. If a pick is glossy and completely smooth, you may have
trouble hanging on to it. Especially if your hand sweats. The pick will just slide
around between your fingers. Another option is to take a piece of fine sand paper,
and "rough up" your picks a little. This will give you a little more grip on the pick.
Here are some other things that you might look for in a pick. Look for smooth edges.
Sometimes poorly made picks have a rough edge. You can see excess plastic or
nylon hanging off of it. This will just cause your picking to have a rougher sound.
Make sure the pick is flat. You will find that some picks are warped, so give them
the once over to make sure that they are flat.
Standard size - Medium gauge
they approach picking. If you take 10 different guitar lessons from 10 different
teachers, you are going to learn that the "correct" way to pick can very greatly. With
that said, I am going to write about what I feel is the best way to approach your right
hand picking technique. Just remember that the 9 other teachers/players may
disagree.
Choosing a guitar pick
First, what kind of pick should you use? This is really a matter of personal taste.
After you have been playing for a little while, I would start experimenting with
different shapes and gauges. But if you are just starting out, I would use a standard
size, and a medium thickness. You may want to look for a brand of pick that has a
little bit of a texture to it. If a pick is glossy and completely smooth, you may have
trouble hanging on to it. Especially if your hand sweats. The pick will just slide
around between your fingers. Another option is to take a piece of fine sand paper,
and "rough up" your picks a little. This will give you a little more grip on the pick.
Here are some other things that you might look for in a pick. Look for smooth edges.
Sometimes poorly made picks have a rough edge. You can see excess plastic or
nylon hanging off of it. This will just cause your picking to have a rougher sound.
Make sure the pick is flat. You will find that some picks are warped, so give them
the once over to make sure that they are flat.
Standard size - Medium gauge
Friday, November 6, 2009
Thaat
Hindustani heptatonic theory additionally stipulates that the second, third, sixth and
seventh degrees of heptatonic scale forms (septak) are also allowed only two
inflections each, in this case, one natural position, and one lowered (komal) position.
Arithmetically this produces 25, or thirty-two, possibilities, but Hindustani theory, in
contradistinction to Carnatic theory, excludes scale forms not commonly used.
seventh degrees of heptatonic scale forms (septak) are also allowed only two
inflections each, in this case, one natural position, and one lowered (komal) position.
Arithmetically this produces 25, or thirty-two, possibilities, but Hindustani theory, in
contradistinction to Carnatic theory, excludes scale forms not commonly used.
Heptonia Tertia
The last group of seven note tone/semitone scales are known as Heptonia Tertia and
consist of scales with two adjacent semitones which amounts to a whole-tone scale
but with an additional note somewhere in its sequence e.g. b c d e f# g# a#.
consist of scales with two adjacent semitones which amounts to a whole-tone scale
but with an additional note somewhere in its sequence e.g. b c d e f# g# a#.
Heptonia Prima and Secunda
Heptonia Prima and Secunda
The rather unwieldy name of Heptonia Prima and Heptonia Secunda are given to the
various seven-note scales which can be formed using tones and semitones but
without two semi-tones appearing in succession. Some are more theoretical than
others. They are
Heptonia Prima
Beginning on keynote A and working up the notes of the 'natural minor' scale
(A,B,C,D,E,F,G,A), the seven modes are:
Aeolian mode (natural minor)
Locrian mode
Ionian Mode (major)
Dorian Mode
Phrygian Mode
Lydian Mode
Mixolydian Mode
It may be noted that the Dorian is exactly the same descending as ascending. The
less common series is
Heptonia Secunda
The difference between this and the diatonic modes is that they have two and three
tones between each semitone, while these latter modes have one and four. These
are sometimes called modes of the melodic ascending minor since that is the most
commonly used scale of this type, but other modes can be produced by starting on
the different scale notes in turn. Thus starting on keynote A as above and following
the notes of the ascending melodic minor (A,B,C,D,E,F#,G#) yields these seven
modes:
'Melodic ascending minor'
'Phrygian raised sixth' combines the Phrygian flat second and Dorian raised sixth
'Lydian raised fifth' combines the Lydian fourth with a raised fifth
'Acoustic' or 'Lydian-Myxolydian' Scale So-called because close to the scale built
on natural overtones and combines Lydian raised fourth with Myxolydian flat
seventh
'Major minor' scale Like natural minor (aeolian) but with a major third
'Half diminished' or 'Locrian sharp 2' scale This is like the Locrian with a raised
second
'Altered scale' Like Locrian with flat fourth
These modes are more awkward to use than those of the diatonic scales due to the
four tones in a row yielding augmented intervals on one hand while the one tone
between two semitones gives rise to diminished intervals on the other. For example,
the last two modes listed above both have 'Locrian' diminished triads built on their
tonics given them unstable tonality while the fourth mode not only has an augmented
fourth a la the Lydian mode but also an augmented fifth making the dominant and
subdominant unusable.
The rather unwieldy name of Heptonia Prima and Heptonia Secunda are given to the
various seven-note scales which can be formed using tones and semitones but
without two semi-tones appearing in succession. Some are more theoretical than
others. They are
Heptonia Prima
Beginning on keynote A and working up the notes of the 'natural minor' scale
(A,B,C,D,E,F,G,A), the seven modes are:
Aeolian mode (natural minor)
Locrian mode
Ionian Mode (major)
Dorian Mode
Phrygian Mode
Lydian Mode
Mixolydian Mode
It may be noted that the Dorian is exactly the same descending as ascending. The
less common series is
Heptonia Secunda
The difference between this and the diatonic modes is that they have two and three
tones between each semitone, while these latter modes have one and four. These
are sometimes called modes of the melodic ascending minor since that is the most
commonly used scale of this type, but other modes can be produced by starting on
the different scale notes in turn. Thus starting on keynote A as above and following
the notes of the ascending melodic minor (A,B,C,D,E,F#,G#) yields these seven
modes:
'Melodic ascending minor'
'Phrygian raised sixth' combines the Phrygian flat second and Dorian raised sixth
'Lydian raised fifth' combines the Lydian fourth with a raised fifth
'Acoustic' or 'Lydian-Myxolydian' Scale So-called because close to the scale built
on natural overtones and combines Lydian raised fourth with Myxolydian flat
seventh
'Major minor' scale Like natural minor (aeolian) but with a major third
'Half diminished' or 'Locrian sharp 2' scale This is like the Locrian with a raised
second
'Altered scale' Like Locrian with flat fourth
These modes are more awkward to use than those of the diatonic scales due to the
four tones in a row yielding augmented intervals on one hand while the one tone
between two semitones gives rise to diminished intervals on the other. For example,
the last two modes listed above both have 'Locrian' diminished triads built on their
tonics given them unstable tonality while the fourth mode not only has an augmented
fourth a la the Lydian mode but also an augmented fifth making the dominant and
subdominant unusable.
Harmonic minor scale
The harmonic minor scale is so called because in tonal music of the “common
practice period” (from approximately 1600 to approximately 1900) chords or
harmonies are more commonly derived from it than from either the natural minor
scale or the melodic minor scale. The augmented second between its sixth degree
and its raised (“leading tone”) seventh degree, usually traditionally considered
undesirable, is easily avoided by distributing these pitches among voices. In the
chord progression, D F A(flat), B F G, C E(flat) G, (ii0, V7, i in C minor) for example,
the Ab in the upper voice never ascends to B, and the B in the lower voice never
descends to Ab.
practice period” (from approximately 1600 to approximately 1900) chords or
harmonies are more commonly derived from it than from either the natural minor
scale or the melodic minor scale. The augmented second between its sixth degree
and its raised (“leading tone”) seventh degree, usually traditionally considered
undesirable, is easily avoided by distributing these pitches among voices. In the
chord progression, D F A(flat), B F G, C E(flat) G, (ii0, V7, i in C minor) for example,
the Ab in the upper voice never ascends to B, and the B in the lower voice never
descends to Ab.
Melodic minor scale
In traditional classical theory the melodic minor scale has two forms, as noted
above, an ascending form and a descending form. Although each of these forms of
itself comprises seven pitches, together they comprise nine, which might seem to
call into question the scale’s status as a heptatonic scale. In certain twentieth-century
music, however, it became common systematically to use the ascending form for
both ascending and descending passages. Such a use has been notably ascribed to
the works of Bela Bartok and to bop and post-bop jazz practice. The traditional
descending form of the melodic minor scale is equivalent to the natural minor scale in
both pitch collection (which is diatonic) and tonal center.
above, an ascending form and a descending form. Although each of these forms of
itself comprises seven pitches, together they comprise nine, which might seem to
call into question the scale’s status as a heptatonic scale. In certain twentieth-century
music, however, it became common systematically to use the ascending form for
both ascending and descending passages. Such a use has been notably ascribed to
the works of Bela Bartok and to bop and post-bop jazz practice. The traditional
descending form of the melodic minor scale is equivalent to the natural minor scale in
both pitch collection (which is diatonic) and tonal center.
Diatonic scale
The term diatonic scale refers to a pitch collection and does not imply any particular
tonal center or note of especial emphasis. It is in this respect different from the term
major scale, which does imply a tonal center.
tonal center or note of especial emphasis. It is in this respect different from the term
major scale, which does imply a tonal center.
Heptatonic scale
A heptatonic scale is a musical scale with seven pitches per octave. Among the
most famous of these are the diatonic scale, C D E F G A B C; the melodic minor
scale, C D E(flat) F G A B C ascending, C B(flat) A(flat) G F E(flat) D C descending;
the harmonic minor scale, C D E(flat) F G A(flat) B C; and a scale variously known
as the Byzantine, Hungarian, gypsy, or Egyptian scale, C D E(flat) F(sharp) G A(flat)
B C. South Indian (Carnatic music) classical theory postulates seventy-two
melakarta, seven-tone scale types, whereas Hindustani classical music postulates
twelve or ten (depending on the theorist) seven-tone scale types collectively called
thaat.
most famous of these are the diatonic scale, C D E F G A B C; the melodic minor
scale, C D E(flat) F G A B C ascending, C B(flat) A(flat) G F E(flat) D C descending;
the harmonic minor scale, C D E(flat) F G A(flat) B C; and a scale variously known
as the Byzantine, Hungarian, gypsy, or Egyptian scale, C D E(flat) F(sharp) G A(flat)
B C. South Indian (Carnatic music) classical theory postulates seventy-two
melakarta, seven-tone scale types, whereas Hindustani classical music postulates
twelve or ten (depending on the theorist) seven-tone scale types collectively called
thaat.
Tritone scale
The tritone scale, C D(flat) E G(flat) G(natural) B(flat) is enharmonically equivalent to
the Petrushka chord, C C(sharp) E F(sharp) G A(sharp).
The two-semitone tritone scale, C D(flat) D F(sharp) G A(flat), is a symmetric scale
consisting of a repeated pattern of two semitones followed by a major third now used
for improvisation and may substitute for any mode of the jazz minor scale. The scale
originated in Nicolas Slonimsky's book Thesaurus of Scales and Melodic Patterns
through the, "equal division of one octave into two parts," creating a tritone, and the,
"interpolation of two notes," adding two consequent semitones after the two resulting
notes.
the Petrushka chord, C C(sharp) E F(sharp) G A(sharp).
The two-semitone tritone scale, C D(flat) D F(sharp) G A(flat), is a symmetric scale
consisting of a repeated pattern of two semitones followed by a major third now used
for improvisation and may substitute for any mode of the jazz minor scale. The scale
originated in Nicolas Slonimsky's book Thesaurus of Scales and Melodic Patterns
through the, "equal division of one octave into two parts," creating a tritone, and the,
"interpolation of two notes," adding two consequent semitones after the two resulting
notes.
Blues scale
Since blue notes are alternate inflections, strictly speaking there can be no one blues
scale[2], but the scale most commonly called "the blues scale" comprises a flatted
seventh blue note, a flatted third blue note, and a flatted fifth blue note along with other
pitches derived from the minor pentatonic scale: C E(flat) F F(sharp) G B(flat) C.
scale[2], but the scale most commonly called "the blues scale" comprises a flatted
seventh blue note, a flatted third blue note, and a flatted fifth blue note along with other
pitches derived from the minor pentatonic scale: C E(flat) F F(sharp) G B(flat) C.
Prometheus scale
The Prometheus scale is so called because of its prominent use in Alexander
Scriabin's symphonic poem Prometheus: The Poem of Fire. Scriabin himself called
this set of pitches, voiced as the simultaneity (in ascending order) C F(sharp) B(flat)
E A D the "mystic chord". Others have referred to it as the "Promethean chord".
Scriabin's symphonic poem Prometheus: The Poem of Fire. Scriabin himself called
this set of pitches, voiced as the simultaneity (in ascending order) C F(sharp) B(flat)
E A D the "mystic chord". Others have referred to it as the "Promethean chord".
Synthetic modes#Hexatonic scales
The augmented scale, also known in jazz theory as the symmetrical augmented
scale, is so called because it can be thought of as an interlocking combination of two
augmented triads a minor second or minor third apart: C E G(sharp) and E(flat) G B.
It may also be called the "minor-third half-step scale" due to the series of intervals
produced
scale, is so called because it can be thought of as an interlocking combination of two
augmented triads a minor second or minor third apart: C E G(sharp) and E(flat) G B.
It may also be called the "minor-third half-step scale" due to the series of intervals
produced
Whole tone scale
The whole tone scale is a series of whole tones. It has two non-enharmonically
equivalent positions: C D E F(sharp) G(sharp) A(sharp) C and D(flat) E(flat) F G A B
D(flat).
equivalent positions: C D E F(sharp) G(sharp) A(sharp) C and D(flat) E(flat) F G A B
D(flat).
hexatonic scale
in music and music theory, a hexatonic scale is a scale with six pitches or notes
per octave. Famous examples include the whole tone scale, C D E F(sharp)
G(sharp) A(sharp) C; the augmented scale, C D(sharp) E G A(flat) B C; the
Prometheus scale, C D E F(sharp) A B(flat) C; and what some jazz theorists call the
"blues scale", C E(flat) F F(sharp) G B(flat) C
per octave. Famous examples include the whole tone scale, C D E F(sharp)
G(sharp) A(sharp) C; the augmented scale, C D(sharp) E G A(flat) B C; the
Prometheus scale, C D E F(sharp) A B(flat) C; and what some jazz theorists call the
"blues scale", C E(flat) F F(sharp) G B(flat) C
Triads
As mentioned above in the context of Stravinsky's Petrushka chord, both the C
major and F# major triads are obtainable from a single permutation of the diminished
scale. In fact eight major and minor triads can be obtained from each permutation of
the scale. If one takes the Db diminished scale as outlined above, one can produce
the following triads:
C major (C E G)
C minor (C Eb G)
Eb major (Eb G Bb)
Eb minor (Eb Gb Bb)
F# major (F# A# C#)
F# minor (F# A C#)
A major (A C# E)
A minor (A C E)
major and F# major triads are obtainable from a single permutation of the diminished
scale. In fact eight major and minor triads can be obtained from each permutation of
the scale. If one takes the Db diminished scale as outlined above, one can produce
the following triads:
C major (C E G)
C minor (C Eb G)
Eb major (Eb G Bb)
Eb minor (Eb Gb Bb)
F# major (F# A# C#)
F# minor (F# A C#)
A major (A C# E)
A minor (A C E)
Petrushka chord
Igor Stravinsky's ballet Petrushka is characterized by the so-called Petrushka
chord',' which combines major triads transpositionally related by a tritone. Taruskin's
ascription of explanatory power to the chord's status as an octatonic subset has
been challenged by Tymoczko
chord',' which combines major triads transpositionally related by a tritone. Taruskin's
ascription of explanatory power to the chord's status as an octatonic subset has
been challenged by Tymoczko
Jazz
Both the half-whole diminished and its partner mode, the whole-half diminished (with
a tone rather than a semitone beginning the pattern) are commonly used in jazz
improvisation, frequently under different names. The whole-half diminished scale is
commonly used in conjunction with diminished harmony (e.g., the "C dim7" chord)
while the half-whole scale is used in dominant harmony (e.g., with a "G7b9" chord).
a tone rather than a semitone beginning the pattern) are commonly used in jazz
improvisation, frequently under different names. The whole-half diminished scale is
commonly used in conjunction with diminished harmony (e.g., the "C dim7" chord)
while the half-whole scale is used in dominant harmony (e.g., with a "G7b9" chord).
Octatonic scale
An octatonic scale is any eight-note musical scale. Among the most famous of these
is a scale in which the notes ascend in alternating intervals of a whole step and a
half step, creating a symmetric scale. In classical theory, in contradistinction to jazz
theory, this scale is commonly simply called the octatonic scale, although there are
forty-two other non-enharmonically equivalent, non-transpositionally equivalent
eight-tone sets possible. In jazz theory this scale is more particularly called the
diminished scale (Campbell 2001, p. 126), or symmetric diminished scale (Hatfield
2005, p. 125), because it can be conceived as a combination of two interlocking
diminished seventh chords, just as the augmented scale can be conceived as a
combination of two interlocking augmented triads. The earliest systematic treatment
of the octatonic scale was Edmond de Polignac's unpublished treatise, "Etude sur les
successions alternantes de tons et demi-tons (Et sur la gamme dite
majeure-mineure)" from c. 1879 (Kahan 2009), which preceded Vito Frazzi's Scale
alternate per pianoforte of 1930 by a full half-century (Sanguinetti 1993). The term
octatonic pitch collection was first introduced into English by Arthur Berger in 1963
(Van den Toorn 1983).
The twelve tones of the chromatic scale partition into three non-overlapping
diminished seventh chords. A combination of any two, omitting the third, forms an
octatonic collection. As there are three diminished-seventh chords that can be
omitted, it follows that there are only three distinct (non-transpositionally equivalent)
diminished scales in the 12-tone system. Thus Olivier Messiaen considered it one of
the modes of limited transposition. A given diminished scale has only two modes
(one beginning its ascent with a whole step between its first two notes, while the
other begins its ascent with a half step or semitone). T.
Each of the three distinct scales can form differently named scales with the same
sequence of tones by starting at a different point in the scale. With alternative starting
points listed in parentheses, the three are:
Eb diminished (Fb/Gb, A, C diminished): Eb, F, F#, G#, A, B, C, D, Eb
D diminished (F, Ab, B diminished): D, E, F, G, Ab, Bb, B, C#, D
Db diminished (E, G, Bb diminished): Db, Eb, E, F#, G, A, Bb, C, Db
Among the collection's remarkable features is that it is the only collection that can be
disassembled into four transpositionally-related pitch pairs in six different ways, each
of which features a different interval class (Cohn). For example:
semitone: (C, C#), (D#, E) (F#, G), (A, Bb)
whole step: (C#,D#), (E, F#), (G, A), (Bb, C)
minor third:(C, Eb), (F#, A), (C#, E), (G, Bb)
major third:(C, E), (F#, Bb), (Eb, G), (A, C#)
perfect fourth: (C#, F#), (Bb,Eb), (G,C), (E,A)
tritone: (C, F#), (Eb,A), (C#,G), (E, Bb)
Octatonic scales first occurred in Western music as byproducts of a series of
minor-third transpositions. Agmon locates one in the music of Scarlatti, from the
1730s. Langle's 1797 harmony treatise contains a sequential progression with a
descending octatonic bass, supporting harmonies that use all and only the notes of
an octatonic scale (p. 72, ex. 25.2). The question of when Western composers first
began to select octatonic scales as primary compositional material is difficult to
determine. One strong candidate is a recurring theme in Franz Liszt's Feux Follets,
the fifth of his first book of Etudes d'exécution transcendente (composed 1826, and
twice revised). See descending arpeggiated figures of bars 7 and 8, 10 and 11, 43,
45 through 48, 122, and 124 through 126. In turn, all three distinct octatonic scales
are used, respectively containing all, and only, the notes of each of these scales.
Jazz, Petrushka chord, Triads
is a scale in which the notes ascend in alternating intervals of a whole step and a
half step, creating a symmetric scale. In classical theory, in contradistinction to jazz
theory, this scale is commonly simply called the octatonic scale, although there are
forty-two other non-enharmonically equivalent, non-transpositionally equivalent
eight-tone sets possible. In jazz theory this scale is more particularly called the
diminished scale (Campbell 2001, p. 126), or symmetric diminished scale (Hatfield
2005, p. 125), because it can be conceived as a combination of two interlocking
diminished seventh chords, just as the augmented scale can be conceived as a
combination of two interlocking augmented triads. The earliest systematic treatment
of the octatonic scale was Edmond de Polignac's unpublished treatise, "Etude sur les
successions alternantes de tons et demi-tons (Et sur la gamme dite
majeure-mineure)" from c. 1879 (Kahan 2009), which preceded Vito Frazzi's Scale
alternate per pianoforte of 1930 by a full half-century (Sanguinetti 1993). The term
octatonic pitch collection was first introduced into English by Arthur Berger in 1963
(Van den Toorn 1983).
The twelve tones of the chromatic scale partition into three non-overlapping
diminished seventh chords. A combination of any two, omitting the third, forms an
octatonic collection. As there are three diminished-seventh chords that can be
omitted, it follows that there are only three distinct (non-transpositionally equivalent)
diminished scales in the 12-tone system. Thus Olivier Messiaen considered it one of
the modes of limited transposition. A given diminished scale has only two modes
(one beginning its ascent with a whole step between its first two notes, while the
other begins its ascent with a half step or semitone). T.
Each of the three distinct scales can form differently named scales with the same
sequence of tones by starting at a different point in the scale. With alternative starting
points listed in parentheses, the three are:
Eb diminished (Fb/Gb, A, C diminished): Eb, F, F#, G#, A, B, C, D, Eb
D diminished (F, Ab, B diminished): D, E, F, G, Ab, Bb, B, C#, D
Db diminished (E, G, Bb diminished): Db, Eb, E, F#, G, A, Bb, C, Db
Among the collection's remarkable features is that it is the only collection that can be
disassembled into four transpositionally-related pitch pairs in six different ways, each
of which features a different interval class (Cohn). For example:
semitone: (C, C#), (D#, E) (F#, G), (A, Bb)
whole step: (C#,D#), (E, F#), (G, A), (Bb, C)
minor third:(C, Eb), (F#, A), (C#, E), (G, Bb)
major third:(C, E), (F#, Bb), (Eb, G), (A, C#)
perfect fourth: (C#, F#), (Bb,Eb), (G,C), (E,A)
tritone: (C, F#), (Eb,A), (C#,G), (E, Bb)
Octatonic scales first occurred in Western music as byproducts of a series of
minor-third transpositions. Agmon locates one in the music of Scarlatti, from the
1730s. Langle's 1797 harmony treatise contains a sequential progression with a
descending octatonic bass, supporting harmonies that use all and only the notes of
an octatonic scale (p. 72, ex. 25.2). The question of when Western composers first
began to select octatonic scales as primary compositional material is difficult to
determine. One strong candidate is a recurring theme in Franz Liszt's Feux Follets,
the fifth of his first book of Etudes d'exécution transcendente (composed 1826, and
twice revised). See descending arpeggiated figures of bars 7 and 8, 10 and 11, 43,
45 through 48, 122, and 124 through 126. In turn, all three distinct octatonic scales
are used, respectively containing all, and only, the notes of each of these scales.
Jazz, Petrushka chord, Triads
Scalar transposition
Composers often transform musical patterns by moving every note in the pattern by a constant number of scale steps: thus, in the C major scale, the pattern C-D-E might be shifted up, or transposed, a single scale step to become D-E-F. This process is called "scalar transposition" and can often be found in musical sequences. Since the steps of a scale can have various sizes, this process introduces subtle melodic and harmonic variation into the music. This variation is what gives scalar music much of its complexity.
SCALES
In music, a scale is a group of musical notes collected in ascending and descending order, that provides material for or is used to conveniently represent part or all of a musical work including melody and/or harmony. Scales are ordered in pitch or pitch class, with their ordering providing a measure of musical distance.
Scales are typically listed from low to high. Most scales are octave-repeating, meaning their pattern of notes is the same in every octave. An octave-repeating scale can be represented as a circular arrangement of pitch classes, ordered by increasing (or decreasing) pitch class. For instance, the increasing C major scale is, C-D-E-F-G-A-B-[C], with the bracket indicating that the last note is an octave higher than the first note. Or C-B-A-G-F-E-D-[C], with the bracket indicating an octave lower than the first note in the scale.
Scales are typically listed from low to high. Most scales are octave-repeating, meaning their pattern of notes is the same in every octave. An octave-repeating scale can be represented as a circular arrangement of pitch classes, ordered by increasing (or decreasing) pitch class. For instance, the increasing C major scale is, C-D-E-F-G-A-B-[C], with the bracket indicating that the last note is an octave higher than the first note. Or C-B-A-G-F-E-D-[C], with the bracket indicating an octave lower than the first note in the scale.
pentatonic scale
A pentatonic scale is a musical scale with five pitches per octave in contrast to a heptatonic (seven note) scale such as the major scale. Pentatonic scales are very common and are found all over the world, including Celtic folk music, Hungarian folk music, West African music, African-American spirituals, Jazz, American blues music and rock music, Sami joik singing, children's songs, the Greek traditional music and songs from Epirus, Northwest Greece and the music of Southern Albania, the tuning of the Ethiopian krar and the Indonesian gamelan, Philippine Kulintang, melodies of Korea, Japan, China, India and Vietnam (including the folk music of these countries), the Afro-Caribbean tradition, Polish highlanders from the Tatra Mountains, and Western Classical composers such as French composer Claude Debussy.The pentatonic scale is also used on the Great Highland Bagpipe.
The common pentatonic major and minor scales (C-D-E-G-A and C-Eb-F-G-Bb,
respectively) are useful in modal composing, as both scales allow a melody to be
modally ambiguous between their respective major (Ionian, Lydian, Mixolydian) and
minor (Aeolian, Phrygian, Dorian) modes (Locrian excluded). With either modal or
non-modal writing, however, the harmonization of a pentatonic melody does not
necessarily have to be derived from only the pentatonic pitches.
The common pentatonic major and minor scales (C-D-E-G-A and C-Eb-F-G-Bb,
respectively) are useful in modal composing, as both scales allow a melody to be
modally ambiguous between their respective major (Ionian, Lydian, Mixolydian) and
minor (Aeolian, Phrygian, Dorian) modes (Locrian excluded). With either modal or
non-modal writing, however, the harmonization of a pentatonic melody does not
necessarily have to be derived from only the pentatonic pitches.
Jazz harmony
The scale is also used extensively in modern jazz writing and jazz harmony. Wayne Shorter's composition "JuJu" features heavy use of the whole tone scale, and John Coltrane's One Down, One Up is built off two augmented chords arranged in the same simple structure as his earlier tune Impressions. However, these are only the most overt examples of the use of this scale in jazz. A vast number of jazz tunes, including many standards, use augmented chords and their corresponding scales as well, usually to create tension in turnarounds or as a substitute for a dominant seventh chord. Art Tatum and Thelonious Monk are two pianists who used the whole tone scale extensively and creatively.
Whole tone scale
In music, a whole tone scale is a scale in which each note is separated from its neighbours by the interval of a whole step. There are only two complementary whole tone scales, both six-note or hexatonic scales:
{C, D, E, F(sharp), G(sharp), A(sharp), C}
Synthesized sample
{B, D(flat), E(flat), F, G, A, B}.
The whole tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, [and] the scale creates a blurred, indistinct effect". This effect is especially emphasized by the fact that triads built on such scale tones are augmented. Indeed, one can play all six tones of a whole tone scale simply with two augmented triads whose roots are a major second apart. Since they are symmetrical, whole tone scales do not give a strong impression of the tonic or tonality.
Due to this symmetry the hexachord consisting of the whole-tone scale is not distinct under inversion or more than one transposition. Thus many composers have used one of the "almost whole-tone" hexachords whose, "individual structural differences can been seen to result only from a difference in the 'location,' or placement, of a semitone within the otherwise whole-tone series."Alexander Scriabin's Mystic chord is a primary example, being a whole tone scale with one note raised a semitone, with this alteration allowing for a greater variety of resources through transposition.
{C, D, E, F(sharp), G(sharp), A(sharp), C}
Synthesized sample
{B, D(flat), E(flat), F, G, A, B}.
The whole tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, [and] the scale creates a blurred, indistinct effect". This effect is especially emphasized by the fact that triads built on such scale tones are augmented. Indeed, one can play all six tones of a whole tone scale simply with two augmented triads whose roots are a major second apart. Since they are symmetrical, whole tone scales do not give a strong impression of the tonic or tonality.
Due to this symmetry the hexachord consisting of the whole-tone scale is not distinct under inversion or more than one transposition. Thus many composers have used one of the "almost whole-tone" hexachords whose, "individual structural differences can been seen to result only from a difference in the 'location,' or placement, of a semitone within the otherwise whole-tone series."Alexander Scriabin's Mystic chord is a primary example, being a whole tone scale with one note raised a semitone, with this alteration allowing for a greater variety of resources through transposition.
Naming the notes of a scale
In many musical circumstances, a specific note of the scale will be chosen as the "tonic" – the central and most stable note of the scale. Relative to a choice of tonic, the notes of a scale are often labeled with numbers recording how many scale steps above the tonic they are. For example, the notes of the C diatonic scale (C, D, E, F, G, A, B) can be labeled {1, 2, 3, 4, 5, 6, 7}, reflecting the choice of C as tonic. The term "scale degree" refers to these numerical labels. In the C diatonic scale, with C chosen as tonic, C is the first scale degree, D is the second scale degree, and so on.
Note that such labeling requires the choice of a "first" note; hence scale-degree labels are not intrinsic to the scale itself, but rather to its modes. For example, if we choose A as tonic, then we can label the notes of the C diatonic scale using A = 1, B = 2, C = 3, D = 4, and so on.
The scale degrees of a heptatonic (7-note) scale can also be named using the terms tonic, supertonic, mediant, subdominant, dominant, submediant, subtonic. If the subtonic is a semitone away from the tonic, then it is usually called the leading-tone (or leading-note); otherwise the leading-tone refers to the raised subtonic. Also commonly used is the (movable do) solfège naming convention in which each scale degree is given a syllable. In the major scale, the solfege syllables are: Do, Re, Mi, Fa, So (or Sol), La, Ti (or Si), Do (or Ut).
Scales may also be shown as semitones (or fret positions) as e.g. 0 2 4 5 7 9 11 for C-D-E-F-G-A-B.
All these naming systems, except for heptatonic/diatonic interval naming, are restricted to scales for a 12 note octave division, not distinguishing sharps and flats.
Note that such labeling requires the choice of a "first" note; hence scale-degree labels are not intrinsic to the scale itself, but rather to its modes. For example, if we choose A as tonic, then we can label the notes of the C diatonic scale using A = 1, B = 2, C = 3, D = 4, and so on.
The scale degrees of a heptatonic (7-note) scale can also be named using the terms tonic, supertonic, mediant, subdominant, dominant, submediant, subtonic. If the subtonic is a semitone away from the tonic, then it is usually called the leading-tone (or leading-note); otherwise the leading-tone refers to the raised subtonic. Also commonly used is the (movable do) solfège naming convention in which each scale degree is given a syllable. In the major scale, the solfege syllables are: Do, Re, Mi, Fa, So (or Sol), La, Ti (or Si), Do (or Ut).
Scales may also be shown as semitones (or fret positions) as e.g. 0 2 4 5 7 9 11 for C-D-E-F-G-A-B.
All these naming systems, except for heptatonic/diatonic interval naming, are restricted to scales for a 12 note octave division, not distinguishing sharps and flats.
Points of reference on the fretboard
x
One word about points of reference on the fretboard: so far we have mainly dealt with relative points of reference. We have started out in a certain 6-note pattern and have moved around. This might work pretty well as long as you are staying in only one key. However, if you want to change keys (e.g. from C major to G major) you will also need an absolute point of reference. There is actually two ways of doing this:
First you can memorize the names of some reference notes within the patterns (e.g. the root note of a given major scale) and locate it on the fretboard. To do so you have to be pretty familiar with the names of notes on the fretboard (which you have to learn anyway).
The other way is to learn all these patterns relative to an absolute landmark that is key-specific. For example you will notice that in the key of C major your landmarks would be the open strings, 5th, 10th and 12th fret on all given strings (and the same one octave higher, for sure). So if you memorize these landmarks while position playing this will allow you to quickly move around the fretboard in even unfamiliar keys.
Some concluding remarks. This chapter was dealing heavily with patterns, greek mode names and visualization on the fretboard. However, the real goal is to get beyond these things. To reach a stage where you hear a melody in your brain and can easily navigate around the fretboard
and play exactly these notes. So basically the idea is to practice this pattern system to completely internalize it so that you don't even have to think about it anymore and can just play for the fun of it. It is a long way, but perfectly doable if you have the discipline to practice.....
In the nineteenth and twentieth century, additional types of scales were explored:
The chromatic scale (twelve notes)
The whole tone scale (six notes)
The pentatonic scale (five notes)
The octatonic or diminished scales (eight notes)
One word about points of reference on the fretboard: so far we have mainly dealt with relative points of reference. We have started out in a certain 6-note pattern and have moved around. This might work pretty well as long as you are staying in only one key. However, if you want to change keys (e.g. from C major to G major) you will also need an absolute point of reference. There is actually two ways of doing this:
First you can memorize the names of some reference notes within the patterns (e.g. the root note of a given major scale) and locate it on the fretboard. To do so you have to be pretty familiar with the names of notes on the fretboard (which you have to learn anyway).
The other way is to learn all these patterns relative to an absolute landmark that is key-specific. For example you will notice that in the key of C major your landmarks would be the open strings, 5th, 10th and 12th fret on all given strings (and the same one octave higher, for sure). So if you memorize these landmarks while position playing this will allow you to quickly move around the fretboard in even unfamiliar keys.
Some concluding remarks. This chapter was dealing heavily with patterns, greek mode names and visualization on the fretboard. However, the real goal is to get beyond these things. To reach a stage where you hear a melody in your brain and can easily navigate around the fretboard
and play exactly these notes. So basically the idea is to practice this pattern system to completely internalize it so that you don't even have to think about it anymore and can just play for the fun of it. It is a long way, but perfectly doable if you have the discipline to practice.....
In the nineteenth and twentieth century, additional types of scales were explored:
The chromatic scale (twelve notes)
The whole tone scale (six notes)
The pentatonic scale (five notes)
The octatonic or diminished scales (eight notes)
horizontal movement using the 6-note patterns
An example of horizontal movement using the 6-note patterns
Here is an example of how you can move up the fretboard on the 5th and 6th string in the key of C major. We start out using a Lydian pattern and move up to the 24th fret (Ionian pattern). This is just an example of how you can move around freely in horizontal motion (up and down). Practice this on all strings and combine this approach with the vertical position playing approach and also with playing on only one string at a time.
Note that since we are using a 6-note pattern but the whole sequence consists of regular 16th notes we have to increase the number of notes to two 8-note patterns in the way I have done it here (but you can also do it in any other way that sounds pleasing to your ears). Basically you will end up getting 16 16th notes per pattern which gives a very rhythmic grouping of one pattern per measure (or 4 notes per beat).
Here is the tab of the first four patterns:
(16th notes)
E||--------------------------------|---------------------------------|
B||--------------------------------|---------------------------------|
G||--------------------------------|---------------------------------|
D||--------------------------------|---------------------------------|
A||------2-3-5-3-2-5-3-2-----------|-------3-5-7-5-3-7-5-3------|
E||1-3-5-----------------5-3-1-3-5-|3-5-7-----------------7-5-3-5-7-|
Lydian Mixolydian
S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S
--------------------------------|--------------------------------------|
--------------------------------|--------------------------------------|
--------------------------------|--------------------------------------|
--------------------------------|--------------------------------------|
------5-7-8-7-5-8-7-5-----------|------7-8-10-8-7-10-8-7------|
5-7-8-----------------8-7-5-7-8-|7-8-10-------------------10-8-7-8-10-|
Aeolian Locrian
Here is an example of how you can move up the fretboard on the 5th and 6th string in the key of C major. We start out using a Lydian pattern and move up to the 24th fret (Ionian pattern). This is just an example of how you can move around freely in horizontal motion (up and down). Practice this on all strings and combine this approach with the vertical position playing approach and also with playing on only one string at a time.
Note that since we are using a 6-note pattern but the whole sequence consists of regular 16th notes we have to increase the number of notes to two 8-note patterns in the way I have done it here (but you can also do it in any other way that sounds pleasing to your ears). Basically you will end up getting 16 16th notes per pattern which gives a very rhythmic grouping of one pattern per measure (or 4 notes per beat).
Here is the tab of the first four patterns:
(16th notes)
E||--------------------------------|---------------------------------|
B||--------------------------------|---------------------------------|
G||--------------------------------|---------------------------------|
D||--------------------------------|---------------------------------|
A||------2-3-5-3-2-5-3-2-----------|-------3-5-7-5-3-7-5-3------|
E||1-3-5-----------------5-3-1-3-5-|3-5-7-----------------7-5-3-5-7-|
Lydian Mixolydian
S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S S
--------------------------------|--------------------------------------|
--------------------------------|--------------------------------------|
--------------------------------|--------------------------------------|
--------------------------------|--------------------------------------|
------5-7-8-7-5-8-7-5-----------|------7-8-10-8-7-10-8-7------|
5-7-8-----------------8-7-5-7-8-|7-8-10-------------------10-8-7-8-10-|
Aeolian Locrian
Tuesday, November 3, 2009
Music Scales Theory
Music Scales Theory
Using the 12 notes of the chromatic scale, 12 major and 12 minor scales can be formed. The modern musical keyboard, with its black notes grouped in twos and threes, is essentially diatonic; this arrangement not only helps musicians to find their bearings on the keyboard, but simplifies the system of key signatures compared with what would be necessary for a continuous alternation of black and white notes. The black (or "short") keys were an innovation that allows the adjacent positioning of most of the diatonic whole-steps (all in the case of C major), with significant physical and conceptual advantages.
Using the 12 notes of the chromatic scale, 12 major and 12 minor scales can be formed. The modern musical keyboard, with its black notes grouped in twos and threes, is essentially diatonic; this arrangement not only helps musicians to find their bearings on the keyboard, but simplifies the system of key signatures compared with what would be necessary for a continuous alternation of black and white notes. The black (or "short") keys were an innovation that allows the adjacent positioning of most of the diatonic whole-steps (all in the case of C major), with significant physical and conceptual advantages.
Music Scales History
Music Scales History
These scales are the foundation of the European musical tradition. The modern major and minor scales are diatonic, as were all of the 'church modes'. What are now called major and minor were in reality - during the medieval and Renaissance periods - only two of seven modes ('church modes') based on the same diatonic notes (but forming different scales when the starting note was changed). Depending on which of the seven notes is used as the beginning, the positions of the intervals, the half-steps, end at different distances from the starting tone, hence obtaining seven different scales or modes which are as already mentioned, deduced from the diatonic scale. By the start of the Baroque period, the notion of musical key was established—based on a central triad rather than a central tone. Major and minor scales came to dominate until at least the start of the 20th century, partly because their intervallic patterns are suited to the reinforcement of a central triad. Some church modes survived into the early 18th century, as well as appearing occasionally in classical and 20th century music, and later in modal jazz.
These scales are the foundation of the European musical tradition. The modern major and minor scales are diatonic, as were all of the 'church modes'. What are now called major and minor were in reality - during the medieval and Renaissance periods - only two of seven modes ('church modes') based on the same diatonic notes (but forming different scales when the starting note was changed). Depending on which of the seven notes is used as the beginning, the positions of the intervals, the half-steps, end at different distances from the starting tone, hence obtaining seven different scales or modes which are as already mentioned, deduced from the diatonic scale. By the start of the Baroque period, the notion of musical key was established—based on a central triad rather than a central tone. Major and minor scales came to dominate until at least the start of the 20th century, partly because their intervallic patterns are suited to the reinforcement of a central triad. Some church modes survived into the early 18th century, as well as appearing occasionally in classical and 20th century music, and later in modal jazz.
Non-Western scales
Non-Western scales
In Western music, scale notes are often separated by equally tempered tones or semitones, creating twelve pitches per octave. Many other musical traditions employ scales that include other intervals or a different number of pitches. The origin within these scales lies within the derivation of the harmonic series. Musical intervals are complementary values of the harmonic overtones series. Many musical scales in the world are based on this system, except most of the musical scales from Indonesia and the Indochina Peninsulae, based on inharmonic resonance of the dominant metalophone and xylophone instruments. A common scale in Eastern music is the pentatonic scale, consisting of five tones. In the Middle Eastern Hejaz scale, there are some intervals of three semitones. Gamelan music uses a small variety of scales including Pélog and Sléndro, none including equally tempered nor harmonic intervals. Ragas in Indian classical music often employ intervals smaller than a semitone . Arabic music maqamat may use quarter tone intervals. In both ragas and maqamat, the distance between a note and an inflection (e.g., sruti) of that same note may be less than a semitone.
The term microtonal music usually refers to music with roots in traditional Western music that employs non-standard scales or scale intervals. Mexican composer Julián Carrillo created in the late 1800s one of the first microtonal scales which he called "Sonido 13", The composer Harry Partch made custom musical instruments to play compositions that employed a 43-note scale system, and the American jazz vibraphonist Emil Richards experimented with such scales in his 'Microtonal Blues Band' in the 1970s. Easley Blackwood has written compositions in all equal-tempered scales from 13 to 24 notes. John Cage, the American experimental composer, also created works for prepared piano which use varied, sometimes random, scales. Erv Wilson introduced concepts such as Combination Product Sets (Hexany), Moments of Symmetry and golden horagrams, used by many modern composers. Microtonal scales are also used in traditional Indian Raga music, which has a variety of modes which are used not only as modes or scales but also as defining elements of the song, or raga.
In Western music, scale notes are often separated by equally tempered tones or semitones, creating twelve pitches per octave. Many other musical traditions employ scales that include other intervals or a different number of pitches. The origin within these scales lies within the derivation of the harmonic series. Musical intervals are complementary values of the harmonic overtones series. Many musical scales in the world are based on this system, except most of the musical scales from Indonesia and the Indochina Peninsulae, based on inharmonic resonance of the dominant metalophone and xylophone instruments. A common scale in Eastern music is the pentatonic scale, consisting of five tones. In the Middle Eastern Hejaz scale, there are some intervals of three semitones. Gamelan music uses a small variety of scales including Pélog and Sléndro, none including equally tempered nor harmonic intervals. Ragas in Indian classical music often employ intervals smaller than a semitone . Arabic music maqamat may use quarter tone intervals. In both ragas and maqamat, the distance between a note and an inflection (e.g., sruti) of that same note may be less than a semitone.
The term microtonal music usually refers to music with roots in traditional Western music that employs non-standard scales or scale intervals. Mexican composer Julián Carrillo created in the late 1800s one of the first microtonal scales which he called "Sonido 13", The composer Harry Partch made custom musical instruments to play compositions that employed a 43-note scale system, and the American jazz vibraphonist Emil Richards experimented with such scales in his 'Microtonal Blues Band' in the 1970s. Easley Blackwood has written compositions in all equal-tempered scales from 13 to 24 notes. John Cage, the American experimental composer, also created works for prepared piano which use varied, sometimes random, scales. Erv Wilson introduced concepts such as Combination Product Sets (Hexany), Moments of Symmetry and golden horagrams, used by many modern composers. Microtonal scales are also used in traditional Indian Raga music, which has a variety of modes which are used not only as modes or scales but also as defining elements of the song, or raga.
chromatic scale (twelve notes)
The chromatic scale (twelve notes)
The chromatic scale is a musical scale with twelve pitches, each a semitone or half step apart. "A chromatic scale is a nondiatonic scale consisting entirely of half-step intervals," having, "no tonic," due to the symmetry or equal spacing of its tones.
The most common conception of the chromatic scale before equal temperament was the Pythagorean chromatic scale, which is essentially a series of eleven 3:2 perfect fifths. The twelve-tone equally tempered scale tempers, or modifies, the Pythagorean chromatic scale by lowering each fifth slightly less than two cents, thus eliminating the Pythagorean comma of approximately 23.5 cents. Various other temperaments have also been proposed and implemented.
The term chromatic derives from the Greek word chroma, meaning color. Chromatic notes are traditionally understood as harmonically inessential embellishments, shadings, or inflections of diatonic notes.
The chromatic scale is a musical scale with twelve pitches, each a semitone or half step apart. "A chromatic scale is a nondiatonic scale consisting entirely of half-step intervals," having, "no tonic," due to the symmetry or equal spacing of its tones.
The most common conception of the chromatic scale before equal temperament was the Pythagorean chromatic scale, which is essentially a series of eleven 3:2 perfect fifths. The twelve-tone equally tempered scale tempers, or modifies, the Pythagorean chromatic scale by lowering each fifth slightly less than two cents, thus eliminating the Pythagorean comma of approximately 23.5 cents. Various other temperaments have also been proposed and implemented.
The term chromatic derives from the Greek word chroma, meaning color. Chromatic notes are traditionally understood as harmonically inessential embellishments, shadings, or inflections of diatonic notes.
Sunday, November 1, 2009
Diatonic scale
Diatonic scale
The earliest claimed occurrence of diatonic tuning is in the 45,000 year-old so-called "Neanderthal flute" found at Divje Babe. Although there is no consensus that this is a musical instrument, there has been one claim that it played a diatonic scale.
There is evidence that the Sumerians and Babylonians used some version of the diatonic scale.[citation needed] This derives from surviving inscriptions which contain a tuning system and musical composition. Despite the conjectural nature of reconstructions of the piece known as the Hurrian hymn from the surviving score, the evidence that it used the diatonic scale is much more soundly based. This is because instructions for tuning the scale involve tuning a chain of six fifths so that the corresponding circle of seven major and minor thirds are all consonant-sounding, and this is a recipe for tuning a diatonic scale. See Music of Mesopotamia.
9,000-year-old flutes found in Jiahu, China indicate the evolution, over a period of 1,200 years, of flutes having 4, 5 and 6 holes to having 7 and 8 holes, the latter exhibiting striking similarity to diatonic hole spacings and sounds[citation needed].
Western harmony from the Renaissance until the late 19th century is based on the diatonic scale and the unique hierarchical relationships, or diatonic functionality, created by this system of organizing seven notes. Most longer pieces of common practice music change key, which leads to a hierarchical relationship of diatonic scales in one key with those in another.
Technically speaking, diatonic scales are obtained from a chain of six successive fifths in some version of meantone temperament, and resulting in two tetrachords separated by intervals of a whole tone. For example under this view the two tetrachord structures of C major would be:
[C-D-E-F]-[G-A-B-C]
and of the natural minor of A would be:
[A-B-C-D]-[E-F-G-A]
Temperament and tuning
The diatonic scale has specific properties that mark it out among seven-note scales. David Rothenberg conceived of a property of scales he called propriety, and around the same time Gerald Balzano independently came up with the same definition in the more limited context of equal temperaments, calling it coherence. Rothenberg distinguished proper from a slightly stronger characteristic he called strictly proper. In this vocabulary, there are five proper seven-note scales in 12 equal temperament. None of these is strictly proper, i.e., coherent in the sense of Balzano; but in any system of meantone tuning with the fifth flatter than 700 cents, they are strictly proper. The scales are the diatonic, ascending minor, harmonic minor, harmonic major, and locrian major scales; of these, all but the last are well-known and constitute the backbone of diatonic practice when taken together.
Among these four well-known variants of the diatonic scale, the diatonic scale itself has additional properties of what has been called simplicity, because it is produced by iterations of a single generator, the meantone fifth. The scale, in the vocabulary of Erv Wilson, who may have been the first to consider the notion, is sometimes called a MOS scale.
The diatonic collection contains each interval class a unique number of times. Diatonic set theory describes the following properties, aside from propriety: maximal evenness, Myhill's property, well formedness, the deep scale property, cardinality equals variety, and structure implies multiplicity.
I would like to deal now with one of the foundations of Western music: the diatonic scale. Most of you are probably already pretty familiar with this scale, but I would like to dig a bit deeper than normally since a thorough understanding of this scale is very important for everything that I will point out later.
The diatonic scale like many other musical scales on this planet belongs to the family of the so called "heptatonic" or seven-note scales and has been around for quite a while (several thousand years).
The term "diatonic" in a broader sense refers to notes that belong to a certain key or scale (e.g. all seven notes of a harmonic minor scale in the key of A minor). In a much narrower sense the term "diatonic" refers to just the diatonic scale which basically contains the notes of a major scale. So to avoid confusion I will mainly talk about the major scale in this chapter.
The diatonic scale is a child of its mother, the 12-tone chromatic scale that forms the basis of all common scales within the Western musical system (typically nowadays the twelve-tone-equal-temperament). In this system the smallest musical building-blocks are tones that are one semitone or half-step apart, corresponding to a distance of one fret on a guitar or one key on a piano. Mathematically speaking, each semitone is equal to one twelfth of an octave. If the frequencies of two tones that are a semitone apart are divided one will obtain a ratio of 21/12 (approximately 1.059463094). You will find more harmony theory in one of the next chapters.
However, let's go back to the major scale: the major scale has been and is still used widely in almost every musical context from old greek music to todays Jazz and Heavy Metal. It is definitely one of the most universal scales on this planet. It also has a number of astonishing properties that make it quite unique: for example it is the heptatonic scale whose tones can form the maximum possible number of perfect fifths. Heavy metal guitarists probably like that property a lot, since if allows them to generate a maximum number of power-chords with this scale (six to be more precise) :-)
The major scale is defined by a very characteristic sequence of semitones and whole tones (a whole tone is made up of two semitones).
For guitarists playing all notes that correspond to the white keys on a keyboard - or the C-major scale - is not that simple. If we locate all these notes on a 24-fret fretboard it will look like this:
s you can see, due to the complexity of the guitar, finding a way of memorizing all these notes is far more difficult than just playing the white keys on a keyboard. Since the guitar is not a color-coded instrument like the piano, our only option to learn to play all these notes on the guitar is to either add some sort of color code to our frets or to come up with a comprehensive system that lets you access all these notes. While the idea of a color-coded "piano"-guitar is not per-se bad and could have its uses, a much more general approach would be more helpful.
The typical way of accessing these notes on the guitar is position playing. In the case of a major scale there are 7 unique positions on the fretboard that repeat themselves every other octave. One can now come up with all kinds of regular or irregular scale patterns that make use of 2-note-per string, 3-note-per-string, 4-note-per-string patterns or a mix of these.
But, I would also briefly like to mention, that one of the first steps to familiarize yourself with the C major scale is to play the scale on only one string at a time! This is the most natural and linear way of experiencing the above mentioned whole tone - semitone intervals directly on your guitar! For example go to the B-string and play the C major scale from C through C as depicted in the above fretboard. You can do this for every string and get a pretty good feel for the scale. It is also a good preparation for the more horizontal approach we will take a bit later in this chapter. Adding the horizontal dimension to the more regularly used vertical dimension of position playing will be the main recipe for amazing guitar playing far above average.
But let us for a moment go back to position playing:
One of the systems that I personally like a lot is the 3-note-per-string system that is widely used these days. The main advantage ist that it uses a regular number of notes per string, allows you to quickly cover a lot of terrain on the fretboard in a very fluid manner and unlike the 4-note-per-string system is still very finger-friendly.
Below, the 7 C-major scale positions in 3-note-per-string (3nps) patterns sorted from left to right (without the open strings) are depicted. Please note that I have given the 3nps positions greek mode names (supplemented with some more accessible names based on the starting note on the sixth string in the left lower corner of the red area).
I will not dive too deeply into this mode stuff since it is more complicated then people usually think. I will deal with modal playing in detail in a later chapter, but suffice is to say, that when building a scale from any note of the major scale and returning to it, people like to give it a greek name based on the respective note of the scale and call it a mode. However, all seven modes of the major scale contain exactly the same notes! So far we will just treat these different forms as different positions of the C major scales and not as modes.
Lydian- or F-form
Mixolydian- or G-form
Aeolian- or A-form
Locrian- or B-form
Ionian- or C-form
Dorian- or D-form
Phyrgian- or E-form
So as I already told you, these 3nps patterns are pretty standard and used by a lot of guitarists nowadays. However, the problem with all these patterns is that it is pretty difficult to memorize them. So you have got to learn 7 patterns of the major scale, 7 patterns of the harmonic minor scale, 7 patterns of the melodic minor scale, 7 patterns of any other heptatonic scale that you want to play ..... and then you can only play the positions up and down across the neck but don't still know how to link them together horizontally .... That could probably take you years....
So as I already told you, these 3nps patterns are pretty standard and used by a lot of guitarists nowadays. However, the problem with all these patterns is that it is pretty difficult to memorize them. So you have got to learn 7 patterns of the major scale, 7 patterns of the harmonic minor scale, 7 patterns of the melodic minor scale, 7 patterns of any other heptatonic scale that you want to play ..... and then you can only play the positions up and down across the neck but don't still know how to link them together horizontally .... That could probably take you years....
Fortunately there is a simpler and very systematic approach that can help you a lot and can be easily transferred from the major scale to all the other heptatonic scales. If you break all these 3nps patterns down into single building-blocks, things are dramatically improved.
If we group these patterns into smaller 6-note patterns that are formed by 3nps patterns on two adjacent strings we will find that there are only 6 distinct patterns (however one of them is showing up twice due to the similarity of the Ionian and Mixolydian shape, so functionally we have 7 patterns). In analogy to the above 3nps positions we can name them according to their starting note and the successive part of the scale.
Ionian- or C-form :-----: symmetrical
Dorian- or D-form :-----: asymmetrical
Phrygian- or E-form :-----: asymmetrical
Lydian or F-form :-----: asymmetrical
Mixolydian- or G-form :-----: symmetrical
eolian- or A-form :-----: symmetrical
Locrian- or B-form :-----: symmetrical
Now you can search for these patterns in the above 3nps positions and learn how they repeat themselves horizontally or vertically on a pretty regular basis! Note that two neighbouring horizontal patterns overlap by two notes on one string (4 notes total) which makes the system pretty simple!
Learn these patterns, then you will have total command of the fretboard! You only have to be aware that these patterns are somewhat distorted between the 2nd and 3rd string since the inverval there is only a major third (4 semitones or frets) instead of the regular fourth (5 semitones or frets) between two strings. So when moving from the 3rd to the 2nd string you have to shift the 3nps pattern on the 2nd string up a fret or semitone to the right hand side or vice versa on the way back.
I hope you had a closer look at these patterns on the fretboard and came up with some ideas of how to use them for navigating the fretboard. So if we use a systematic approach we could easily identify how to move in all 4 directions on the fretboard. To demonstrate this we will start off with an interesting experiment. Go to the 10th fret an your D-string which is a C (the starting point of an Ionian- or C-from pattern). Now let's move in all possible directions (left, right, up and down).
As you know if you want to move horizontally you will have to move by one scale degree (either one or two semitones or frets depending on the semitone steps) . So if you move to the left you will go from an Ionian pattern to a Locrian pattern. If you move to the right you will move to a Dorian pattern etc... When moving vertically, you will move one fourth (or five semitones) up or down (except for the interval between the 2nd and 3rd string which is a major third). So if you move from the Ionian pattern towards the high E-string (1st string) the next pattern will be a Lydian pattern. When moving into the opposite direction the next pattern will be a Mixolydian pattern. Basically you have to memorize the order of patterns when moving horizontally or vertically.
So if we put this information into a table and start at the ionian position (bold), here is what we get:
..............................................Aeolian
..............................................Phrygian
..............................................Locrian
..............................................Lydian
Mixolydian,Aeolian,Locrian,Ionian,Dorian,Phrygian,Lydian,Mixolydian
..............................................Mixolydian
..............................................Dorian
...............................................Aeolian
I have depicted the horizontal dimension from Mixolydian to Mixolydian and the vertical dimension from Aeolian to Aeolian. So basically this whole thing is a cycle that is repeating itself over and over and is only limited by the number of strings and frets. While this system looks pretty nice, knowing it and being able to play it effortlessly and without conscious thinking are two different things. It will take you at least months of disciplined practicing to fully digest it. I also would like to encourage you to use this system from the very beginning in a musical context (e.g. playing to a backing track in C major) and not to just run scales or patterns up and down (you should spend about 20 % of your time doing pure technical training and about 80 % of your time practicing within a musical context). This is the best way of training your ears and fingers to make real music. If you don't do this, your playing will sound pretty mechanical....
The earliest claimed occurrence of diatonic tuning is in the 45,000 year-old so-called "Neanderthal flute" found at Divje Babe. Although there is no consensus that this is a musical instrument, there has been one claim that it played a diatonic scale.
There is evidence that the Sumerians and Babylonians used some version of the diatonic scale.[citation needed] This derives from surviving inscriptions which contain a tuning system and musical composition. Despite the conjectural nature of reconstructions of the piece known as the Hurrian hymn from the surviving score, the evidence that it used the diatonic scale is much more soundly based. This is because instructions for tuning the scale involve tuning a chain of six fifths so that the corresponding circle of seven major and minor thirds are all consonant-sounding, and this is a recipe for tuning a diatonic scale. See Music of Mesopotamia.
9,000-year-old flutes found in Jiahu, China indicate the evolution, over a period of 1,200 years, of flutes having 4, 5 and 6 holes to having 7 and 8 holes, the latter exhibiting striking similarity to diatonic hole spacings and sounds[citation needed].
Western harmony from the Renaissance until the late 19th century is based on the diatonic scale and the unique hierarchical relationships, or diatonic functionality, created by this system of organizing seven notes. Most longer pieces of common practice music change key, which leads to a hierarchical relationship of diatonic scales in one key with those in another.
Technically speaking, diatonic scales are obtained from a chain of six successive fifths in some version of meantone temperament, and resulting in two tetrachords separated by intervals of a whole tone. For example under this view the two tetrachord structures of C major would be:
[C-D-E-F]-[G-A-B-C]
and of the natural minor of A would be:
[A-B-C-D]-[E-F-G-A]
Temperament and tuning
The diatonic scale has specific properties that mark it out among seven-note scales. David Rothenberg conceived of a property of scales he called propriety, and around the same time Gerald Balzano independently came up with the same definition in the more limited context of equal temperaments, calling it coherence. Rothenberg distinguished proper from a slightly stronger characteristic he called strictly proper. In this vocabulary, there are five proper seven-note scales in 12 equal temperament. None of these is strictly proper, i.e., coherent in the sense of Balzano; but in any system of meantone tuning with the fifth flatter than 700 cents, they are strictly proper. The scales are the diatonic, ascending minor, harmonic minor, harmonic major, and locrian major scales; of these, all but the last are well-known and constitute the backbone of diatonic practice when taken together.
Among these four well-known variants of the diatonic scale, the diatonic scale itself has additional properties of what has been called simplicity, because it is produced by iterations of a single generator, the meantone fifth. The scale, in the vocabulary of Erv Wilson, who may have been the first to consider the notion, is sometimes called a MOS scale.
The diatonic collection contains each interval class a unique number of times. Diatonic set theory describes the following properties, aside from propriety: maximal evenness, Myhill's property, well formedness, the deep scale property, cardinality equals variety, and structure implies multiplicity.
I would like to deal now with one of the foundations of Western music: the diatonic scale. Most of you are probably already pretty familiar with this scale, but I would like to dig a bit deeper than normally since a thorough understanding of this scale is very important for everything that I will point out later.
The diatonic scale like many other musical scales on this planet belongs to the family of the so called "heptatonic" or seven-note scales and has been around for quite a while (several thousand years).
The term "diatonic" in a broader sense refers to notes that belong to a certain key or scale (e.g. all seven notes of a harmonic minor scale in the key of A minor). In a much narrower sense the term "diatonic" refers to just the diatonic scale which basically contains the notes of a major scale. So to avoid confusion I will mainly talk about the major scale in this chapter.
The diatonic scale is a child of its mother, the 12-tone chromatic scale that forms the basis of all common scales within the Western musical system (typically nowadays the twelve-tone-equal-temperament). In this system the smallest musical building-blocks are tones that are one semitone or half-step apart, corresponding to a distance of one fret on a guitar or one key on a piano. Mathematically speaking, each semitone is equal to one twelfth of an octave. If the frequencies of two tones that are a semitone apart are divided one will obtain a ratio of 21/12 (approximately 1.059463094). You will find more harmony theory in one of the next chapters.
However, let's go back to the major scale: the major scale has been and is still used widely in almost every musical context from old greek music to todays Jazz and Heavy Metal. It is definitely one of the most universal scales on this planet. It also has a number of astonishing properties that make it quite unique: for example it is the heptatonic scale whose tones can form the maximum possible number of perfect fifths. Heavy metal guitarists probably like that property a lot, since if allows them to generate a maximum number of power-chords with this scale (six to be more precise) :-)
The major scale is defined by a very characteristic sequence of semitones and whole tones (a whole tone is made up of two semitones).
For guitarists playing all notes that correspond to the white keys on a keyboard - or the C-major scale - is not that simple. If we locate all these notes on a 24-fret fretboard it will look like this:
s you can see, due to the complexity of the guitar, finding a way of memorizing all these notes is far more difficult than just playing the white keys on a keyboard. Since the guitar is not a color-coded instrument like the piano, our only option to learn to play all these notes on the guitar is to either add some sort of color code to our frets or to come up with a comprehensive system that lets you access all these notes. While the idea of a color-coded "piano"-guitar is not per-se bad and could have its uses, a much more general approach would be more helpful.
The typical way of accessing these notes on the guitar is position playing. In the case of a major scale there are 7 unique positions on the fretboard that repeat themselves every other octave. One can now come up with all kinds of regular or irregular scale patterns that make use of 2-note-per string, 3-note-per-string, 4-note-per-string patterns or a mix of these.
But, I would also briefly like to mention, that one of the first steps to familiarize yourself with the C major scale is to play the scale on only one string at a time! This is the most natural and linear way of experiencing the above mentioned whole tone - semitone intervals directly on your guitar! For example go to the B-string and play the C major scale from C through C as depicted in the above fretboard. You can do this for every string and get a pretty good feel for the scale. It is also a good preparation for the more horizontal approach we will take a bit later in this chapter. Adding the horizontal dimension to the more regularly used vertical dimension of position playing will be the main recipe for amazing guitar playing far above average.
But let us for a moment go back to position playing:
One of the systems that I personally like a lot is the 3-note-per-string system that is widely used these days. The main advantage ist that it uses a regular number of notes per string, allows you to quickly cover a lot of terrain on the fretboard in a very fluid manner and unlike the 4-note-per-string system is still very finger-friendly.
Below, the 7 C-major scale positions in 3-note-per-string (3nps) patterns sorted from left to right (without the open strings) are depicted. Please note that I have given the 3nps positions greek mode names (supplemented with some more accessible names based on the starting note on the sixth string in the left lower corner of the red area).
I will not dive too deeply into this mode stuff since it is more complicated then people usually think. I will deal with modal playing in detail in a later chapter, but suffice is to say, that when building a scale from any note of the major scale and returning to it, people like to give it a greek name based on the respective note of the scale and call it a mode. However, all seven modes of the major scale contain exactly the same notes! So far we will just treat these different forms as different positions of the C major scales and not as modes.
Lydian- or F-form
Mixolydian- or G-form
Aeolian- or A-form
Locrian- or B-form
Ionian- or C-form
Dorian- or D-form
Phyrgian- or E-form
So as I already told you, these 3nps patterns are pretty standard and used by a lot of guitarists nowadays. However, the problem with all these patterns is that it is pretty difficult to memorize them. So you have got to learn 7 patterns of the major scale, 7 patterns of the harmonic minor scale, 7 patterns of the melodic minor scale, 7 patterns of any other heptatonic scale that you want to play ..... and then you can only play the positions up and down across the neck but don't still know how to link them together horizontally .... That could probably take you years....
So as I already told you, these 3nps patterns are pretty standard and used by a lot of guitarists nowadays. However, the problem with all these patterns is that it is pretty difficult to memorize them. So you have got to learn 7 patterns of the major scale, 7 patterns of the harmonic minor scale, 7 patterns of the melodic minor scale, 7 patterns of any other heptatonic scale that you want to play ..... and then you can only play the positions up and down across the neck but don't still know how to link them together horizontally .... That could probably take you years....
Fortunately there is a simpler and very systematic approach that can help you a lot and can be easily transferred from the major scale to all the other heptatonic scales. If you break all these 3nps patterns down into single building-blocks, things are dramatically improved.
If we group these patterns into smaller 6-note patterns that are formed by 3nps patterns on two adjacent strings we will find that there are only 6 distinct patterns (however one of them is showing up twice due to the similarity of the Ionian and Mixolydian shape, so functionally we have 7 patterns). In analogy to the above 3nps positions we can name them according to their starting note and the successive part of the scale.
Ionian- or C-form :-----: symmetrical
Dorian- or D-form :-----: asymmetrical
Phrygian- or E-form :-----: asymmetrical
Lydian or F-form :-----: asymmetrical
Mixolydian- or G-form :-----: symmetrical
eolian- or A-form :-----: symmetrical
Locrian- or B-form :-----: symmetrical
Now you can search for these patterns in the above 3nps positions and learn how they repeat themselves horizontally or vertically on a pretty regular basis! Note that two neighbouring horizontal patterns overlap by two notes on one string (4 notes total) which makes the system pretty simple!
Learn these patterns, then you will have total command of the fretboard! You only have to be aware that these patterns are somewhat distorted between the 2nd and 3rd string since the inverval there is only a major third (4 semitones or frets) instead of the regular fourth (5 semitones or frets) between two strings. So when moving from the 3rd to the 2nd string you have to shift the 3nps pattern on the 2nd string up a fret or semitone to the right hand side or vice versa on the way back.
I hope you had a closer look at these patterns on the fretboard and came up with some ideas of how to use them for navigating the fretboard. So if we use a systematic approach we could easily identify how to move in all 4 directions on the fretboard. To demonstrate this we will start off with an interesting experiment. Go to the 10th fret an your D-string which is a C (the starting point of an Ionian- or C-from pattern). Now let's move in all possible directions (left, right, up and down).
As you know if you want to move horizontally you will have to move by one scale degree (either one or two semitones or frets depending on the semitone steps) . So if you move to the left you will go from an Ionian pattern to a Locrian pattern. If you move to the right you will move to a Dorian pattern etc... When moving vertically, you will move one fourth (or five semitones) up or down (except for the interval between the 2nd and 3rd string which is a major third). So if you move from the Ionian pattern towards the high E-string (1st string) the next pattern will be a Lydian pattern. When moving into the opposite direction the next pattern will be a Mixolydian pattern. Basically you have to memorize the order of patterns when moving horizontally or vertically.
So if we put this information into a table and start at the ionian position (bold), here is what we get:
..............................................Aeolian
..............................................Phrygian
..............................................Locrian
..............................................Lydian
Mixolydian,Aeolian,Locrian,Ionian,Dorian,Phrygian,Lydian,Mixolydian
..............................................Mixolydian
..............................................Dorian
...............................................Aeolian
I have depicted the horizontal dimension from Mixolydian to Mixolydian and the vertical dimension from Aeolian to Aeolian. So basically this whole thing is a cycle that is repeating itself over and over and is only limited by the number of strings and frets. While this system looks pretty nice, knowing it and being able to play it effortlessly and without conscious thinking are two different things. It will take you at least months of disciplined practicing to fully digest it. I also would like to encourage you to use this system from the very beginning in a musical context (e.g. playing to a backing track in C major) and not to just run scales or patterns up and down (you should spend about 20 % of your time doing pure technical training and about 80 % of your time practicing within a musical context). This is the best way of training your ears and fingers to make real music. If you don't do this, your playing will sound pretty mechanical....
Subscribe to:
Posts (Atom)