The Major 9th Pentatonic scale, has some tricky stretches, but is well worth having under your fingers when you’re playing over a Major 7th type chord and its extensions. Just like the Dominant 9th Pentatonic, this is built on the tones of its associated chord. In this case the Major 9th. So we have the notes [...]
Continue reading...2 January 2011
Diminished 7th Arpeggios are a distinctive sounding pattern that can be derived from the 7th note of the Harmonic Minor Scale. If you ever fancy playing some neo-classical licks then they’re definitely worth getting under your fingers! Lets draw out the intervals. Every note is equidistant from every other, which means that every note can function as [...]
Continue reading...27 December 2010
I tend to think about the Neapolitan Minor Scale as being a Harmonic Minor Scale with a Flat 2nd. Lets write out the intervals. As you can see, there is the characteristic minor 3rd between the 6th and 7 degree of the scale. Charting out for the guitar, with 3 notes per string, we have… There we have [...]
Continue reading...22 December 2010
Sometimes it’s fun to play around with standard scale patterns, adding notes to see what effect they have. For example, for a long time, I’ve been adding two extra notes to the standard Minor 7th Pentatonic, as follows. If you play this to yourself, you can hear it has an exotic combination of tight clusters of [...]
Continue reading...19 August 2010
A while ago I posted some common shapes for the Bebop Scale, fingered for the Guitar. (Follow this link to read the article). In that article I started with the standard 3 Note-Per-String Major Modes and then added an additional note to create the Bebop scales. The advantage of doing this is that you end up [...]
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15 January 2011
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