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A Compendium of Formulas for Guitar Scales and Modes

Produced by

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CARL FISCHER.®

65 BleecKer Street, New York, NY 10012

ISBN Q.8258-2171·1

Neophyte and Adept aJike Welcome to
9

THE GUITAR GRIMOIRB In the pages that ensue, the mystical veil that enshrouds music theory will be removed. Theory will be explained for the guitarist as easily as possible, with clear concise graphic diagrams. For the advanced players who already understand music theory. this book will have scales for you to readily explore new realms of music. For the intermediate players who know how to play chords. etc. but never really knew how they were built, this book will help put the pieces of the puzzle into place. Although this book is essentially designed for the intermediate and advanced player. this book will lay an excellent foundation for the begirmer. This book is a "where to" book, showing you exactly where to find any scale in any key on your fretboard. It is a professional reference tool to enhance your music library and playing that you will use for many years to come.

This book is dedicated to all the pioneering guitarists who will take music to depths and levels never before explored.

gri-moire

\gfGffi "warv n (rhymes with guitar)
[F., book of magical formulas]: magician's manual

For more information

on The Guitar Grimoire® Series and other music instructional by Adam Kadmon check out the following Web sites: http://www.guitargrimoire.com

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Copyright © 1991 by Metalron, Inc. Copyright Ass igoed 1995 to Carl Fischer, Inc. All Righls Assigned to Carl Fischer, LLC. International Copyright Secured. All rights reserved including pertorming rights. WARNING' This publication is protected t~ Copyr'ghllaw To phok>copy or

CONTENTS
HOW TO USE THIS BOOK.
• • • • THE BU~DmG BLOCKS OF MUSIC SCALES AND MODES MODES AND RELATIVE SCALES CHORDS t.~ • CHORD NAMING SYSTEM • POL YCHORDS • COMPATIBILITY • THE PATTERNS ~ .. • mTERVALS AND mSTRUMENT
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7 TONE SCAI.ES
• • • • • • • • • • • • • • MAJOR MELODIC MmOR HARMONIC MINOR HARMONIC MAJOR HUNGARIAN MINOR HUNGARIAN MAJOR . NEAPOLITAN M'IN"OR NEAPOLITAN MAJOR ENIGMATIC MmOR ENIGMATIC COMPOSITE II IONIAN ~5 LOCRIAN ~7 PERSIAN
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5 TONE SCAI.ES
• M'IN"OR PENTATONIC • KUMOI • HIROJOSHI (BLUES SCALE)

6 TONE SCALES
• • • • • • • • • • WHOLE TONE AUGMENTED PELoa DOM'IN"ANT SUS DIMmISHED 8 TONE SPANISH BEBOP LOCRIAN ~2 BEBOP DOMINANT BEBOP DORIAN BEBOP MAJOR

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". / IIIIIIII Iml Iwl III1III1 II I~I III1III1 IVIII ) IIIIIIII -II In I I Ii ~"G~ IDJOA: ~. . .~~ 1221 '" ..t •• () 14~~· .~. TITLE PAGE _LIHI .I~~ I c II. I ~.~. """ l...".....l.N.......I~~ I 11....CHON) ~ VII """"" • . s..1~~. .. • .. etc .. 'f.2. "... UI" ..eJ.~.. The groups are 7 tone..Ol». . For instance.i I ~~ 1221""" '" " e.." "" • j IIfO(Jf! C*..1221 " I Il.2........· 11.~..2.. .:' I ~ e I. r" • . ... OJ.. ' . i.H -..iG1 VI \'11 c E' E :F -"..~. • ..' .~. E r- F ~. .. -.. The first section we will explain is the Numeric Scale I Mode chart at the bottom of the page (fig.~.1~21 " 11.~ ..H. . .... " .I~~ 11....~~ 112Jil. 4~ ·· · · · . 1).. and 8 tone scales..~122 I ..~~ I~~ lew.. and guitar fingering patterns for conventional and sweeping..I ..1~~...." . ( ~ IIiJ ~ ..' 1.. • • • '" . 4 NUMEruCSCALE/MODECHART Before we start with the scales..~~..• • . " . ..~!.~... I """"-I"WH A!.. The guitar sweeping patterns are then broken down for complete fretboard in all 12 keys..~. The charts are your tools in analyzing how the modes are derived. .. . ~ . po• " . ~ '''D'''" .. tj.!..2. .. .. .._... .. • .i(:1 " ...~. • . • . o . .... Each scale group is then subdivided into different scales.. the 7 note group has 14 scales.... ""'. •.. " ..r.I~~ I~~ I..1.E 1 MODE I'\'..1.!... we will show you how each section of the title page works... UI' . Each title page contains various charts. 6 tone.:: .~ :. BREAKDOWN PAGE II.. • ..~T F E' E p.. ~~ . cox .. 5 tone....~ ..- • :<:11.!I~...~. compatible chords..HOW TO USE THIS BOOK This book is divided into sections according to scale groups. __ IV a v '" " '" C 11'0 ~ E!.. ----.!~~ II~. E.Rf I'IUIIII!!IWI..... t iii 1 . '" -.~. ...~ ~ E' 1221 1. • • " ._t a po... M:' C : B~ " c eaG . 1 1 .~~I ! I~~ 112~. keyboard fingerings (for those of you with sequencers and midi equipment)..2. modal generation charts.. " v fig... Each individual scale in every scale group consists of a title page. and pattern breakdown pages depicting that particular scale's usage in all 12 keys. . E C E F G B!:.J'JR I n m _R~ . E F A.. C D ........M:.' ... 'iIII •• ' .' C C C E f E.~. .~.1~~ I....t..[J.~. .

flat a minor get a diminished. The entire set of major and perfect intervals are called diatonic intervals. 11j 121 13141 11 I I 21 151 161 171 Iig. etc . Let's look at an easy way for memorizing interval distances by counting the amount of blocks. and 8. 2). but the distance from the 2 to the 3 is also a major 2nd (fig.6. diminished. 3).4. an interval has to consist of so many building blocks.5. an interval is the distance between 2 tones. The majors are 2.4 In essence. The empty blocks are reserved for flats ~and sharps # . flat a major get a minor. and augmented (fig. such as 2 instruments playing the same note. 1112: 31 415161718191101111121 tig. 5 111 121314i 11 I I 21 151 161 171 fig. The blocks that are numbered are the tones that make up the Major scale. The distance from one block to the next block is a half-step. 4). the perfects are 1. The names of the intervals are then divided into 2 sets: the majors and the perfects. An 8 would be the octave. Basically. from 8 to block 9 is a half-step.2 111 121 13141 tig. sharp a perfect get an augmented.THE BUILDING BLOCKS OF MUSIC Music is sound. flat a perfect get a diminished. but there are sti1112 tones or blocks. Altering the intervals with flats or sharps changes them from major and perfect into minor.3. 5). The various combinations of half-steps are called intervals. Therefore.. There are 12 building blocks within the major scale. Looking at the diagram we only see 7 numbers. But for now imagine that it is a set of 12 equal blocks (fig. sharp a major get an augmented. tig. 6 2 . 1 would be a unison. and 7. We'll demonstrate first with a major 2nd• There are 3 blocks in a major 2nd (fig. The distance from block 1 to the 1st empty block is still a half-step. From block 1 to block 2 is a half-step.3 151 161 17/ 7 of these 12 tones or blocks have been given positions of "major" importance (fig. 6).

11 PERFECT 5TH MAJOR MAJOR I I I I : I I 171 fig.. ·1 ~~~~..· · . of the major scale in building block breakdown . 1 1 1 1 t IIII I bsl lsi II 9 BLOCKS".:=:====*==:=::::=::::. We have a 2nd.and whole steps make up each interval.Fig. OJ . 4th. MINOR STH I 10 BLOCKS"" MAJOR (4~ STEPS) (5 WHOLE STEPS) (5~ STEPS) 1-. we can also analyze the intervallic relation- 3 . Using the same building block breakdown ship between the intervals themselves. I MAJOR 3 PERFECT 4 1 151 I .l .. 8). 7 is a complete chart of intervals showing you a breakdown in building block format. MAJOR 2ND RD TH (1 WHOLE STEP) (2 WHOLE STEPS) (2~ STEPS) (3-k STEPS) (4i" STEPS) (5i" STEPS) :=:::. method.. ·.·t. 6th. Also observe.-1-..-. 7 Now let's look at all the individual components (fig. I .. 3rd.. . MAJOR 3 RD (1 WHOLE STEP) (1~ STEPS) RC (2 WHOLE STEPS) (2%STEPS) (3 WHOLE STEPS) (3~ STEPS) (4 WHOLE STEPS) STH 1 1 i 41 b5 6 BLOCKS = PERFECT 4TH 7 BLOCKS = DIMINISHED 5TH 51 8 BLOCKS = PERFECT 5TH 1 {- \.71 171 11 BLOCKS = MINOR 7TH 12 BLOCKS"" MAJOR 7TH fig. 31 + 14.S I 6 7 STH TH We can clearly see here the individual intervals... and 7th.c:!@J 1 1 1 1 1 1 : 1 BLOCK = UNISON 2ND D (0 STEPS) (~ 2 BLOCKS = MINOR STEP) 21 3 BLOCKS"" MAJOR 2N Ib31 4 BLOCKS"" MINOR 3 I! 3 i 5 BLOCKS"..!. With the block diagram we can also see exactly how many steps make up each interval.. 5th. the chart tells you how many half.

in practice there are only so many octaves the human ear can hear (fig. 111 121 t I . although. 11] ] 2] 11 I . many of them will look differently on paper and in theory.\11 121 13141 [51 161 17111 fig. in order to form a solid foundation for your musical creations. yet each has the same number of blocks._111---. but 11 11 I I 1~31 111 1.21 11 I I I I I I I I I 1~51 11 I 1141 11 I fig.. and the minor 7th is the same as the augmeted 6th• In the next example.the diminished 5th is the same as the augmented 4th. 9 sonic ally. This is the mathematics of music theory. It is important that you memorize the numerics behind the building blocks. that the numbers to the right of each set above are different between the upper and the lower.. 11). from the major 2nd to the major 3rdis a major 2ndor a whole step.. again.1 l ~ 11 I 1 21 '" . can be theoretically repeated infinitely in both directions.Fig. they are the same (fig. although in theory. they are two very different intervals (fig. 9 clearly shows us the distance of the intervals from the intervals. 12 (21 13141 [51 161 171 . I 2] 2ND MAJOR 2ND MINOR 2ND MAJOR 2ND MAJOR 2ND MAJOR 2ND MAJOR (1 WHOLE STEP) (1 WHOLE STEP) (4" STEP) (1 WHOLE STEP) (1 (1 WHOLE STEP) WHOLE STEP) fig.61 Notice. etc. 10). For instance. 4 . we see that the diminished 7th (a double-flat 7th) is the same as the major 6th in sound. 12). in this case the major scale. The minor yd is the same as the augmented 2nd .. In studying the altered intervals. 11 The complete group of intervals which make up the scale. the minor 6th is the same as the augmented 5th.:::12=. [1 I 11 [ II II I I I I 161 I·~ fig. . From the 3rdto the 4th is a minor 2nd or a half-step.. 10 II I ! 1~61 111 1151 11 ! I I I ! I ~71 1.

The modes of the Major scale are the Ionian. 17 151 61 I ~71 [71 For the VII.21 I fig. the Major is the only one that has a different name for the 1st mode. because it has 7 tones. what was a 3 becomes a 2. etc. mode. 13 The process then continues for the other modes. the 3 becomes the I. the 4 becomes the 2.SCALES AND MODES A scale is a sequence of tones comprised of varying intervals. The II mode of any scale is based upon the 2nd tone of the main scale.. it has some kind of a 2. some kind of a 3. 11 I j2 j 11 I 131 41 I 21 ~al I 51 i 41 161 I 51 I7 11 I I 61 ~71 121 13 I 41 151 161 171 Jig. 13). 14).61 I 121 I ~71 121 161 i 31 41 I 51 lsi 16 171 lig. 5 . 18). 16 For the VI mode the 6 becomes the 1. Phrygian.21 < 151 I ~31 151 121 151 11I 151 161 141 7 11 I 15 1. 1 I 21 131 . the 2 becomes the 3. the numeric value changes when you shift the tone center . the 4 becomes the 1. (fig. 17). Aeolian. the 1 becomes the 2. 15). the individual modes have been given names because they are used as scales themselves. 1 121 lal 13 131 41 : 1I sl :3 I I I 711 1#415 I I I I 1 41 I 131 171 41 ]51 1 171 lig. in this case the Major scale. The mode called Ionian is the Major scale. Lydian. etc. the 5 becomes the 1. Dorian. the 7 becomes the 1. etc. the 5 becomes the 2. 18 I ~al I 21 131 41 I 41 pS [ I ~61 1 As you can see in all of the examples above. every mode has 7 tones. though you are using the same tones. (fig. 14 For the IV mode. I 21 41 I 7 ill 11 1 I 2 I P31 lsi I 121 141 i 31 41 5 1 psi 15 ! 161 171 I ~71 fig. 1 I . A mode uses the exact tones of the main scale. some kind of a 4. etc. (fig. etc . (fig. For the III mode. 11 i 121 I 31 41 151 Is I 1711 11 1 . however. 15 For the V mode. The Major scale has 7 modes. Modes can be described as scales based upon the tones of the main scale. etc. however. For many scales. and Locrian. Of all the scales.that is the tone which you now designated as 1. Mixolydian. etc. (fig. In other words. what was a 2 becomes a I. (fig. the 7 becomes the 2. The 1st mode of any modal system is the scale itself. 16) [1 I 1 121 ! 41 ! 61 ! 21 711 al !2 ! 15 ! 13 ! 41 ! 51 1 61 P71 I 16 ! 17] tig. the 6 becomes the 2.

There is actually only 1 scale. you will get some pretty weird combinations for the numeric anaysis of the modes such as double Bats 110 double sharps ~ . For the sake of simplicity. they will be called "scales" in this text. NUMERIC SCALE I MODE CHART 1 IONIAN 2 2 1 3 3 4 5 5 6 6 5 7 7 16 1 1 2 3 3 4 4 5 5 6 6 7 1 4 ~3 ~2 1 12 7 II III DORIAlII PHRYGIAN LYDIAN MIXOLYD.At the bottom of the title page of each scale. 17). NUMERIC SCALE I MODE CHART 1 2 ~2 1 3 4 5 #4 #3 2 1 6 #5 >:4 3 2 1 I II III IV V VI VII ENIGMATIC 1 3 #2 1 7 1#6 7 >:5 #6 '4 3 1 1 b2 2 3 13 4 5 6 7 #4 . 6 fig. 102 4 I 7 17 In the case of some of the exotic scales in this book. 6 . Also note some and of the modes don't have names. All other scales can be thought of as derived modes which also have modes. This may be a bit confusing at first. the Major scale and its modes. 4 51 7 18 The numbers above the graph will always be the major scale numbers. mode III. but an interesting thought to ponder. they are merely called mode II. so you can see how the new scale and its modes relate to the major scale. etc. 18). the relative relationship of each mode to the main scale is graphed out for you along with the numeric formula for each mode (fig.I ~5 1#6 7 MODE2 MODE 3 MODE 4 MODES MODE 6 MODE 7 7 ~6 H ~5 ~6 5 4 7 ~6 ~5 2 1 ~3 104 ~5 107 ~6 1 1 ~2 ~31·4 1 102 11031 107 6 7 1 1 I ~2 3 #4 #5 + #6 fig. AEOLIAN I LOCRIAN 2 1 4 ~3 2 1 ~7 ~6 4 3 2 1 5 3 2 1 ~7 6 5 4 ~3 1 7 6 5 IV V VI VII #4 5 4 ~3 ~7 ~6 b5 i i 1 i ~7 ~6 ~7 2 3 4 5 +1 . (fig.

19).... .As you study the numeric formulas for each scale or mode. 2 boxes is a double (fig. there is a simple 4-step system which will help you in understanding how the tones become flats or sharps. X ?4 X X 6 6 X _fa 1) MARK where the tone falls 2) NUMER tone positions: 1-7 7 3) COMPARE to major scale pattern 4) ADD.. PHRYGIAN x 1 1 1 X ?2 Ix ?3 1-2 X ?4 4 4 Ixlx 5 5 ~2 - ?5 ?6 p6 -3 ..7 I symbols when needed ... 19 7 . r fig. 19 demonstrate the application of this 4-step rule.....3 -?7 p7 X 1) MARK where the tone falls 2) NUMBER tone positions: 1-7 6 "7 3) COMPARE to major scale pattern I 4) ADD. The 3 examples in fig.... I box over is a standard... f # symbols when needed 1-. DORIAN x 1 1 1 X ?2 X I. When you compare your tones to the Major. the number of boxes to the left or right of the original tone decides whether standard flats and sharps or double flats and sharps are used. 1- . . ENIGMATIC MODE III x 1 1 1 X ?2 2 2 1 Xl ?3 X X 5 X X I 1} MARK where the tone falls 2) NUMBER tone positions: 1-7 3} COMPARE to major scale pattern 4) ADD" I # symbols when needed I ?4 ?5 ?6' ?7 3 3 4·~ #4 5 p6 111>71 - 6 ~~7 1- 1- . (# ?3 2 2 ~3I - ?5 5 1?6 ?7 1-3 4 4 5 1.

~. " .u..· . .. !I I t II I[ III ~~ 7_~! I" I I ID I" • '''''''''-- _«»o__.! ~ JiIOIJE ClAlLRJ . therefore.. "I""" . C C~iD' 0 fI I~ 8 ~. Over to where it meets column V we come to a C... E " EO ""t" . 1'. ·. I.. . ""'0<. ~ " tfUI_RK:" ....~ I~ e."" -7 ~--'" . in order to play in one of the 12 keys. " E F 8' ~..:l.~~.. • r-...1 ' ~. 21). t "OC>AN _ . Let's demonstrate this below with a G Mixolydian (fig._. . '" ~ .. E @ CI/DO B~ B!C' C M A The point where they meet is the relative scale.. E~ C~JD~ 8iC. ' . The Quick Mode Generator Chart is placed next to the keyboard chart for those of you who are guitarists with limited keyboard ability. because that will be our starting pitch or key..~ / _lrIl • • .L..2 ..~"".1. n j l""" " "0.. The other columns tell you what key the relative scale is in. FIE' _.. . :" -.1 II t c ..._ ""~~. AI WI .. ..! 'r'rl I I III IV ""'n". II' !.I.. . 8' ". E G Alo A F FI/O' D E~ B~ B/C' B~ B/C' F F~/G~ cvr» 0 G E C 8 .'. • • .. The Mixolydian is the V mode of the Major scale.. U's as simple as 1 .. ~ ~ ~... . Modes are treated as scales.. • • n .. the concept and principles behind the mode generator chart are the same regardless of what instrument you play. but have sequencers and keyboard controllers.20 CUICiK MODE GEf'.._ . .......~ ''''' c j sr ] •• c. . The mode generator chart of each title page will show you the main scale equivalent for each mode (fig... E~ E r- C Alo A cvr» . t · · . E _'1""'" C E I.MODES AND RELATIVE SCALES Scales and modes are the foundation of your composition and improvisation... ~ Step 2 Place right finger on column of desired mode (in roman numerals at the top). lust as we can change the pitch of the main scale.. G ~F F'/O~ F F~_/O. In other words it tells you what key you are in. G @ M A . . " .~ II '... E ". . A CD H CHART VI E VII E~ C'/D~ I iG~ P 0 E~ E Step 1 Place left finger on desired key in column I. •.TOR I c cs/r» D II B~ B/C' III A~ A IV G AJ. e.... . .. . ~. ." 1"""'1" D I A' A" R' cia.... I. if we are playing a G Mixolydian we are actually playing a C Major with the root note shifted to the G.. C B~ F FI/G' .~ .Y c I""" P"'" c C ~. .21 F"G~ E. ~< ...'.4EfII. I""" A" C B' "... . Beneath column I we go down to the G. ac..... E 0 B" BlC~ J. '... The letters in column I indicate the pitch of the starting point.:'~~'~"'~v~ ."" " e. A '"e-"11I I E Ic "!E.. Step 3 Run fingers across and down until they meet.. 20). ~. • . -.3 I lig. L' .. > •• .. the same concept or principle can be used when using a mode... IVII I~II . MODE GENERATOR CHART _\ ~~.. V. · · · 1 lig..• • • .w .• • ... .~" .jIr. .. However. · 1 . c P"'" ... "F ". ..

This should help remove the mystery behind big chords. . We have already studied intervals. 11w.3 . and the 13th is a 6th (fig. the Major chord..t. "What chords can I play with such and such scale?" The Scale I Mode ...3 .5 .. .Chord Chart for chord and scale compatibility on each title page takes the guess work out of that question.. Clearly depicted are the compatible chords for every mode (fig.chord (fig. and the Major 7m.. 11. . For the sake of those who might be total beginners. 15 71 I: I. we will review the basics behind chord theory and harmony. For example. • :I 7 . An interval is the distance between 2 tones..~ . .. CHORDISC~ In order to use this chart. a Major chord would consist of 1 . 22 I I Major Scale MajOr! Chord Major 7th I 1 I ! 21 I 1 111 1 34 151 11 6 1 I 1I II I 3 i I I 15 ! 131 lSi l! 17 171 fig...let's define a chord..5.. Therefore. " . D ••• . A basic chord "formula" for building chords is to use every other tone of the scale you are in. • 2 M • T fig.7. 24). 23 What about those big fanc~ chords like 9ths.. we can clearly see that a 9 is a 2nd.CHORDS One of the most frequently asked questions by inexperienced musicians is. you must have an understanding how chords are built.'_ I II. an 11th is a 4th. 22). 23). .. A chord is 2 or more intervals played simultaneously. A Major 7th chord would be 1 .. and 131hS? Using 2 octaves of OUI Major scale... Using the building blocks format compare the Major scale.

~7 C07= 1.5 -~7 C'" = 1 .3 . In the chart (fig.#5 Co = 1 .7 C7 = 1 . The flat and sharp symbols are used when altering any other tones. as in 1 sharp.Mt7 tig.= 1 . 26 is some kind of 13th chord. We feel that the system in this book is the most effecient if used properly. Once you fully understand music theory. 25) there are 7 symbols. The 7 symbols are used to denote the status of specific tones within the chord.b5 7 b7 b3. you'll understand all naming systems.CHORD NAMING SYSTEM In order to fully understand the numeric formulas.~5 C.5 .~3 .~7 1t7 4 c: 7 0 same ~ ~ MINOR AUGMENTED DIMINISHED DELTA DOMINANT HALF-D 1MINISH ED DIMINISHED 7TH C.~5.and + as flats and sharps. = 1 .~3 .b3 .25 Let's list a few chords and analyze their components within the name.b3 . Some systems will use .5 C+ = 1 . we have found it more systematic to use them as represented in the chart below. And the 131h is flat. 10 . 26 Study the names of the chords in relationship to the formulas in the numeric chord charts. you first have to understand the chord naming system in this text. Although this is not incorrect. The + tells us to raise the 5th a half-step.~5 . There are certain rules or guidelines which help the musician when he is communicating to other musicians. Memorize these symbols and the tones they represent. flat 13.3 .6. The Zs (delta) tells us that it's a Major 7th chord. NUMERIC FORMULA fig. as they will be your best friends when dealing with chords. DENOTES STATUS OF CHANGE RESULT NAME EXAMPLE AND FORMULA 0 N E T + 0 3 5 3.b5 . What we have in fig.5 7 b ~ ~ ~3 #5 b3. The letter tells us what pitch the" 1" (root note) of our formula is on.3 . The chord is an E flat delta augmented.

11 I 1I t ROOT 7 19j 1 fig. 29 1 1 31 Placing the 1 of our b. x=z y Y Xr6ESiREO\ ~= fig. In other words. Let's look at a 13~1 chord with building blocks (fig.. The result would also be the same. You could also place the Major triad on the 2nd. we have simulated our 13~11.POLYCHORDS As you study the numeric chord charts. 30 Therefore. The capital M is a Major triad over the root at the 9th• It looks like this: fig. On the right side of the equal sign it tells us to playa delta augmented over the root at the + m. 32 and fig. use several smaller chords to make 1 big chord. 33). flated 7 1 3'11 = -fig. 30 and fig. 31 M 19 I 1 1 1'111 1 1 1 131 1 I 1 I 31 151 1131 . 29): ~ 6 113. we see that the tones are the tones of our desired chord. while the guitar or keyboard will play the 3 or 4 tone chord at the appropriate interval. 34 OVER ~z THE ROOT AT 34. 11 . 27 191 Now let's look at 1 possible polychord formula (there could be several) and analyze the equation. let alone a guitarist. since the 2nd is also a 9th (fig. 33 The bass player will usually play the root note. 32 -30R4 TONE CHOR M 2 Jig.13 M I 1I 1 I 31 I I 1 151 131 I 1 I ~71 91 1'111 13'11 15 I fig.9 M". Many times this can be cumbersome. To the left of the equal sign is the chord name. The formula for polychords is depicted in the chart.. even for a keyboard player. 28 Let's see what this chord represents (fig.+ (delta augmented) at the dominant 7th from the root. How do you play 7 notes when you only have 6 strings? The way to do this is to simulate the large chords with what we call polychords. fig.'11 1 6".27).. 15\ fig. 31. you will see some of the larger chords have 6 or 7 tones. ROOT 1 [ 13'11 ill I I i 2". 13$11 = fig. _M_ 9 1 13'11 I 1I r 13 ROOT ! 151 I ~71 fig.Now let's look at the same chord except with a different polychord formula.

~5 5 5 5 1 1 1 2 i 3 .NUMERIC ANALYSIS OF CHORDS 1 M sus2 SUS 2 3 4 1 3 ~3 2 4 5 5 5 5 5 ..5 5 5 5 4 3 ~7 ~7 "7 .7 ~71 ~5 I aUARTAL or DOUBLE FOURTH 7 -7 7sus2 7sUS 1 1 1 ~3 2 ~5 ~5 3 3 ~3 5 7. i 6 -9 6 1 ! ~3 9 12 .3 3 .5 5 3 3 5 8 B + #5 5 5 5 5 . 1 -L::. 1 6sus2 6sUS L::.+ 1 -6+ 7 6 9 1 1 1 6 6 6 ~7 9 .5 5 5 ! 7 7 7 7 7 l 1 6° 1 L::.5 6 7 1 2 34 .6 -~6 6 -6 ~6 ~6 6 6 H ~3 3 ~3 ~3 4 3 °7 Q(3) 1 1 1 .7 .3 3 1 1 1 1 1 1 1 . #5 .3 3 3 4 ~5 5 ~5 #5 .7 7 7 7 I L::...7 . i 5 6 7 1 1 1 1 i I i ~5 0 I .5 ~ 1 1 1 ~3 I 7+ ..

3 3 9 9 9 9 9 9 9 9 9 9 9 9 9 ~11 11 11 '#11 ~11 11 11 #11 #11 11 11 #11 .#11 -6.NUMERIC ANALYSIS OF CHORDS continued 1 9 1 1 1 1 1 1 1 1 2 p3 3 3 4 5 5 5 6 ~7 .11 13 13 13 13 13 13 13 i 13 I 5 5 5 3 5 3 3 5 5 5 5 5 3 5 3 p3 L I 5 5 i 7 7 11 13 ..613'11 '.~ Pg '9 7 7 7 7 7 p9 p9 #9 9 9 -6.613-11 -..3 p3 . 5 5 5 -pg ~9 6.9 -6.9 .11 13 -13 13~11 -13'11 .7 p7 ~7 7 1 2 3 4 5 6 7 9 9 bg -g .9 #9 3 3 '9 9 9 11 11 ~11 " 3 5 5 .7 7 7 7 7 p7 ..3 p3 3 3 .7 .7 .-9 1 1 ALT ALT ALT ALT 11 -11 #11 -'11 611 .3 ~5 #5 5 5 p7 ...7 ..7 p7 p9 #9 \ 1 1 1 1 11 1 1 1 1 1 1 1 1 1 1 1 1 1 p3 ~3 p3 .7 ~7 7 7 '. ~5 p5 .'9 _ 1 6.7 ' p7 ..9 LJ. -611 6.7 ..613 -.613 .3 3 p3 3 3 3 3 5 5 5 5 5. .

let's return to the Scale/ ModeChord Compatibility Chart.61 ['7] 1. compatible chords you can use.7[ fig.61 I . 35) The roman numerals on the left side of the chart will tell you the mode you are in. The same 2 chords will also fit with the Aeolian.CHORo CHART I II IONIAN OORIAN PHRYGIAN LYDIAN MIXOLYDIAN AEOLIAN LOCRIAN M 6. -9) will not. .61 I .x0u have the scale-chord compatibility charts to help you. But the halfdiminished will (fig. 38 As you become more familiar with the mathematics or numerics behind scales.21 [ .71 [5 [ 1 [9 t ! fig.5[ [ .71 I . On the right half are the chords that fit or match that mode.71 11 I I I I . mode. modes. 36). Till then.36 t t Comparing it in this way we see that all the tones in the -7 and -9 chords are in the scale.7[ t 1i . fig.71 I . fig.3[ I 4 1. which is found on the title page of each new scale (fig.71 1 t 11 I [2[ . however. -7 -9 -7 b.3[ 14[ [5 ! . 35 1DORIAN I 1 -7 -9 1 I I t 1 12 I ~31 14 1 15 I 16 1.. or in this case. compatibility will become an automatic response.. Next will be the name of the mode.3 ! 1 [4 [ ~sl I .3 i I I [ 5 [ I I '31 t I [5 t I I ~71 tig. where applicable. let's see how this works (fig. and chords. In other words. 7 III N V '11 11 13 9 VI VII -7 -g -11 . 14 . 37. . Taking the Dorian. 37 The Minor 7th and the Minor 9th (-7. ILOCRIANI1 z t [)21 I '3[ j1[ [ . [AEOLlANI1 [ 1 I 2 -7 -9 [1 [ 1 [1 I [ '3[ [ ~31 1 I '3! 1 141 I I :5 lsi 1 I . SCALE 1 MOOE .5 \ t ! . work with the Locrian. 38). Volume II of the Guitar Grimoire M will deal entirely with chords.6 [ [ ~7[ [ .COMPATIBILITY Now that we have covered chords and po lychords .

but until then we have laid it out for you in each key so that you may use it as a reference tool..':-:.o l: i ". ~ :::-t:.. when you are in the II mode.39 PATTERN VI: --..5. An interval map will show you the numerics (1.Lf. ---... 'r. This will become more apparent when you study the fingering patterns on the breakdown pages. Just as when you are in the III mode. the III pattern becomes the I.-.-n:!-:. •••• -------- •••• f ••• ' .. i E : 0 : C . ~: ~: : .. the II pattern from the title page now becomes the I and the rest follow in sequence. 40). . This is because the sweeping pattern compensates for the idiosyncrasies of the ~uitar' s design in tuning the 2nd string to the 4t fret of the 3rd string rather than tuning all strings in 4lhs• The format of these patterns then.3.:'!...--] : .L:f. L~_~ ~_~ .--~ --: ~~. I / KEYBOARD AND GUITAR PATTERNS ]I N The 1st 4 scales (Major.:: .n·l·:T:._.D' i_ ~_CI_ i . In the section titled "Intervals and Instrument" we have included interval maps.I I :14 'I'[ ... AI ~ G ~ F ! E~ io. tig.c:H}] EO _~~~~.. For instance.WiI. 39)._i!+tt.. ..:t?1 .~J~. you will find a set of keyboard fingerings and 2 sets of guitar fingerings (fig. Harmonic Minor.:.. has the 6th through 4th strings of conventional I and the 1st and 2nd strings of conventional II.. ..-= G]~!·j-i5¥·~~j:.40 .'·"~'L. sweeping pattern I.-1~. : :-. allow you to sweep 3 notes per string systematically and symmetrically.T~E·.-------"i----~.4..2: . If you study carefully you will notice that in most cases each sweeping pattern is comprised of parts from 2 of the conventional patterns.. 1}~n~:)'9 9~('\TT:l' r~~~-Ir~-·r_ [..6.. -A~' \~.~·. 110 • 7 n' 1 . ' is/cll ~~ . - tig.~-'::. • ~ . _ .. It will benefit you greatly to memorize the numerics for all 12 keys.- -----------.7) for all 12 keys. One thing you must remember.zIl...~---~--~--'G" . :·:'~~·~~~jH0.~J--~~~ :: : : : 1.:- r[~·~·HD~j[~~~\:~. : :.'. 1 ~ er e I IIj..[:.:.. and Harmonic Major) have all the patterns set up for you per mode to help you along until you get used to the Quick Mode Generator Chart. This will help you when you are composing using the polychord technique as well as when studying complete fret and pattern breakdowns and how they compare to the major scale..c.. L·_~. A ~G i .ft.. 15 . The scale key for the keyboard fingerings are designated by the letter symbol next to the keyboard fingering in the I column of the Quick Mode Generator Chart (fig.: THE PATTERNS On the title page of each scale. .~ .:.-"]"--(. Melodic. _{'~~. F i i~[~~q~~"c. ::.. The conventional guitar fingerings are given merely for the sake of comparison and analysis..2.-.

INTERVALS AND INSTRUMENT
Now that we've learned about intervals, the building blocks of music, let's see how they our instrument. We are going to take 2 octaves of the intervals which make up the and see how they match up to the guitar in the key of F. Looking at the diagram, (fig. 41) we can see that each block corresponds to a fret. I st finger on the 1st string. the 1Sf fret will give you a 1, in this case an F. On the 3rd have your major 2nd, on the 5th fret your major 3rd,etc..


L

-

••
1

• •

••••

\-

-

An example for the keyboard, in the key of C. shows that the blocks which make up the scale align with the "white" keys (fig. 42).

fig. 42

To change keys, you change the pitch of the starting note, in other words, you have to shift mathematical formula, in this case the Major scale, to the appropriate pitch or key. have memorized this process for yourself, we have done it for you. The following pages are interval maps for the guitar and the keyboard. The key is des' above each fretboard or next to each keyboard digaram, and as you will notice. they are for you in all 12 keys. Open notes are represented by the circles above the fretboard. Study well. for they will help you as you analyze the pattern breakdowns later on in the book.

16

GUITAR

INTERVAL

MAPS

C#/D~

E

GfJ V ([)-':' D @ G ~
G!)_ ~@@_CZ>CD

~~.

~®@

iD®

~ v (D'~f)(v
~~.

G~

@ ~G~~(~@

_-(]) 0P

17

KEYBOARD

INTERVAL

MAPS

18

7 TONE SCALES
All other scales come from the 7 tone scales, therefore the 7 tone scales are listed first. Every possible pattern in the sweeping is composed of 8 mini-patterns as follows (fig. 43): 8 MINI-PATTERNS

• • •
I

I
I

I I

.

I

~ ~

I

~
I~

I~ I

NOTES IN THE PATTERNS ARE PLAYED CONSECUTIVELY, FOR THE BENEFIT OF THOSE WHO ARE NOT FAMILIAR WITH SUCH DIAGRAMS.

~

iig.43

The many combinations of mini-patterns make up the Patterns I through VII for each different scale. By the time you have gotten to the Hungarian Major, you have used all 8 mini-patterns. There are 4 other mini-patterns, but they are used in abstract pentatonics and will be covered in that section. a repeat of the 1st through the 12th. The complete fretboard, of the breakdown pages, depicts every note on every string for that key. that then is broken down into patterns. The first tone of each pattern corresponds to a tone number as you ascend the scale.
The breakdowns are shown only as high as the 19th fret, since everything from the 13th fret on is

19

IONIAN DORIAN PHRYGIAN LYDIAN MIXOLYDIAN AEOLIAN LOCRIAN M. 9.. 3 4 5 15 6 7 6! 7 II IIi . . • C B~ B/C~ A B~ G A~ A F F#/G~ cvt» 0 E F F"G~ C : B/C~ C G II • It .. • _!_ • • • • • I • IV V VI VII -s. 9 -7.6.6.KE~ARD PATTERNS QUICK MODE GENERATOR CHART CONVENTIONAL PATTERNS SWEEPING PATTERNS c 0 E~ I B~ I A~ I G .. DORIAN PHRYGIAN LYDIAN MIXOLYD AEOLIAN LOCRIAN I ~3 1 1 ' ~2 ~3 2 5 #4 3 ~7 6 5 4 IV V 7 6 5 4 1 I 2 1 ~7 1r6 ' 1r5 VI VII 2 1 ~3 107 1r6 I 1 20 102 1~3 . F F#/G~ : E~ C#/OP E •• •• It _l_ C#!D~ B/C~ A A~ 0 E~ E F t_ • I t_ _!_ . -g -7 6 . A B~ 0 cer» B/C~ E~ E F G A~ • III _l_ G 0 C _l_ A~ 'F#/G~ E~ C#/Dlt B/CIr E A A B~ B/CIr G 0 C B~ • A~ F#/G~ A G F F#/G~ E~ C#ID~ B/C~ IV ~ • • • • • E 0 C • . . -11 0 • • VII • .13 -7.CHORD CHART v VI • I II III . . 9. NUMERIC SCALE I MODE CHART 71 2 34 1 IONIAN 2 34 . 5 4 5 4 6 6 5 4 3 1 1 I 2 1 3 2 7 ·6 1 1r7 ~6 5 4 2 .6.7 . E~ ClIO..~11 7.11. • • • .6. • SCALE I MODE . E F B~ A~ 'F#/G~ ..

... . . .. . . . . . II III IV V VI .. .. . .. . . 0 COMPLETE FRETBOARD .. . . . I'll• . .. . . COMPLETE FRETlIOARD 0 I 1 :I r G MAJOR VII .. ---- A" MAJOR II III " . . ... ..F MAJOR COMPLETE FRETBOARD 0 000 D III I'll V VI VD . . . F# /G~ MAJOR COMPLETE FRET80ARD . . • .... . .. . . . . .. . . . .. . . . . . . . .. . . . .. .. .. ... .. VI VII IV V . .... . I . II III IV V VI . . . .. . .~i •... . .. 21 . • .

• • . • • '- " -t_ • B~ MAJOR V VI Vii I " COMPLETE FRETBOARD " I .1 • • i' • . • ' . • e COMPLETE FRETBOARD 00 MAJOR VII L • " • . • _Q_ II III IV • " . • • • • • • • '1 I 'I . • . • U' • • " • . " -!_ _j_ I • 22 • . • J.. • •• • . ' • • • • • • .A MAJOR COMPLETE FRET80ARD 0 • • •• ~ 0_ 0 VI liD II UI \' I~ J •• • .' I' • • I " B/C~ COMPlETE FRET80ARD _9 MAJOR II III IV I II VI VD • • • ~ • • • • . 0 • I. . IV Ii VI II III • .

. .. •• • " • • " • F-- . • . .. ~ • " --' • " ' .• • • .• • " • • • • I • • • • '. • • • ..C~I Db MAJOR COMPLETE FRETBOARD •• •• • • • • . :"(" . . ID Ii' V VI vn II • • • .. • • - E MAJOR COMPLETE FRETBOARD ~ .t-.. . VI! • . . .~: -' . ' . •• • " . .. • • • •• " 23 . • '. . • • .. 0 • II III IV V VI VII ~ ~ • • f-' rt- • • • f---r--.--f--- • . '. .• COMPLETE FRETBOARD 00000 1--++--- ---r. -D MAJOR _j_ III IV V VI VII II •• • • • • • • .. ' .. 0 11 ]J[ IV V VI • • • • .. • • • " B MAJOR COMPLETE FRETBO'-'RD . •.

-f- • •• • 1 • • • . H-·~ 1 ' •• • • • '- • '. r· I '.' • i - ..--. . '.I .---f--- rl·..--- T vr r I' Jl • A~ DORIAN COMPLETE FRETBOARD o VI !_ vn II [1/ IV • ~. • •• . c-r-. '. • '. • f-- • 1 • • • '-f---: -.-f--- l-.' • 1 • •• I' I' J .f-f-.t· 1 • • __!_ • 1 1 rf-'"r- _t . _f _j_.----.• • • •• • • ~. l 1 'j ~ • '.r:-rf- • • • • • . '. 1 • • I 'j_ 1 -.I 'I 24 .F DORIAN COMPLETE FRETBOARD •• • _t O_Q_ • II !II [V 11 1 VI 1 • • • VI! •• r-c . 1 '. ~ .' • I' • .' 00 _ 0 I G DORIAN II vn III rr IV VI • _t ' .L I I 1 I1 1 I F# I G~ DORIAN COMPLETE FREmOARD 0 •• O_~ II It I [[[ IV 11 VII _t_ • • • f-- • 'I . " L I Jl COMPLETE FRETBOARD 0 . ·t • • • • • • • ~ _I_J " ~ r·=--~ . .

• • • . . .. • • " • • j j .' IV .. ' . • • . --. I o • . B~ DORIAN COMPLETE FRET1lOARO -" . II _I • • V VI VII II _!_ 1lI IV ~ . . ...A DORIAN COMPLETE A... f . • • '1 25 . B IC~ DORIAN V VI I i VD II III IV • ' . •• .ETBO'-'RD 00 VI 'I'll D III IV V • . • • . . • • • • • • --.· ' • " C DORIAN COMPLETE FRET1lOARD CI • T • . • • .' • .' . ..-. v VI 'I'll I II III • • .". .. ..

_:_ f--i=J • •• • • IV v VI . F- E DORIAN '.'-tI- .- +-.. +-r-: -_. ' t--' .-1--1- • • • • c----I-'TF- • 26 .~ II III f-r IV VI _j_ f--I-C. .---- COMPLETE FRETBOARD 00 00 • •• F-F:': • 111 v VI VII n 1-1---.'.. II III v L VI vn .._I.j .. .f-l-- • • •• . • .1= . .-~ 1-1-1- • •• • •• • .- • • • f-r-:-e-: • • . ~ f. . 1-1. • • .. .f--f- • •• -Il- .--:::l Elo DORIAN • ..r-:-f--. • .- COMPlETE FRETBOARD _! •• .~r-t-1-1.t-. • _j.1-1- t. • • ~ • • I • .'c--'fI-I.- • f--f--f- • • • • .... •• .--" f- I-t-. • • • • •• COMPLETE FRETBOARD 000 00 r---:----r. 1-1- • f- • • I- .. ~ . r-t.-l--1-- 1-- . I--.. . . .~ . F-' f-+-.. I I l I :1 --. .t--= f-.. • . .. • . I 1-\-t-. .I-. J j_ _j_ f--r. I- -1-. D DORIAN • .f-- ..j> .'I- VII J ) I ttl• ~ r'.. ~ 10 ·• • .f-. '----.1-.1-1_: f-1I-l± 1-1-' I-f-r-:.Cl$/ COMPLETE FRETBOARD o 00 t» DORIAN VII I! III '-f--. .• '1- .f-II . r-:- .I I I I 1 . f--__:_ f--- • ~t- • j-·l- • • .- . I- r-+.'.' H.t-I. ! • l- .~-r 1-1-1-1- . .. •• ... • • -1-1- 1-1.

F PHRYGIAN COMPLETE FRETOOARD II 1II IV V VI VII F# I G~ PHRYGIAN COMPLETE FAETBOARO o II til IV V VI VII G PHRYGIAN COMPLETE FRETBOARD VI! .i .• II III IV v VI II M PHRYGIAN COMPLETE FRETBOARD 000 VI! II 1Il IV V VI 27 .

A PHRYGIAN o COMPLETE FRETBOARD 0 VI VII II III IV V u Bb PHRYGIAN COMPLETE FRET80ARD o v VI VII II III IV 8 I C~ PHRYGIAN o COMPLETE FRETBOARD 0 V VI VlI 1I III IV C PHRYGIAN COMPLETE FRET80ARD IV v VI VII II III 28 .

C# I Db PHRYGIAN COMPLETE FRETBOARD o IV V VI V[[ [[ [[[ D PHRYGIAN COMPLETE FRETBOARD III IV V VI VII II Elo COMPLETE FRETBOARD PHRYGIAN VI Vll II [[[ IV V E PHRYGIAN COMPLETE FRETBOAI'IO o II 1Il IV V VI VII 29 .

30 ..---- ------ - - -------------- F LYDIAN COMPLETE FRETI'lOARO o 0 00 1I 1lI IV V VI VII F# I G~ LYDIAN COMPLETE FRETBOARO VlI II III IV V VI G LYDIAN COMPLETE FRETBOARO 0 VlI 1I III IV V VI I •• ••I -II • • I • Ab LYDIAN COMPLETE FRETBOARO VI VII II III IV V .

.A LYDIAN COMPLETE FRE'fBOARD VI VlI II III IV V Bit LYDIAN COMPLETE FFiETBOARD v VI VII II 1II IV B I C~ LYDIAN COMPLETE FRETBOARD o IV V VI VII II III C LYDIAN COMPLETE ."ETBOARD 00 IV V VI VII II III 31 .

. .• •• • E~ LYDIAN COMPLETE FRETBOARD 00 . t~ _J • .~ •• --. • . . ' . .c~1m COMPLETE FRETBOAAD LYDIAN VI YII [I • <> HI •• • • v • •• • _4 _4 l • • _J • o o COMPLETE FA ETBOAA D 0 j_ LYDIAN VI VII I III IV II • • • t. . II 1-.-j In IV v VI VII . ' • • • •• • • • E LYDIAN OOMPLETE FRETBOARD o II III V VI I' I \III • • • H·-+--t-f-O· ' • "- . - .... 32 • ...

F MIXOLYDIAN COMPLETE FRETBOARO o II 1II IV V VI VII F# 1Gb MIXOLYDIAN COMPLETE FRETBOAAD o II III IV V VI VII G MIXOLYDIAN COMPLETE FRETBOARD VII II !II IV V VI A' MIXOLYDIAN COMPLETE FRETBOARD VI VII II III IV V 33 . ..

A MIXOLYDIAN COMPLETE FRETBOARD VI VII II III IV V B~ MIXOLYDIAN COMPLETE FRETBOARD 00 v VI VII II III IV B I cs MIXOLYDIAN COMPLETE FRETBOARD o 0 V VI VII II III IV c COMPLETE FRETBDARD ODD MIXOLYDIAN VII Il III IV V VI 34 .

C# I DIr MIXOLYDIAN FRETBOARD COMPLETE III IV v VI VII II D MIXOLYDIAN FRETIlOARD 00 COMPLETE III IV V VI VII u B FRETBOARD COMPLETE MIXOLYDIAN II III IV v VI VII j j E MIXOLYDIAN mETSOARD COIIIPLETE II III IV V VI VII 35 .

A~ AEOLIAN COMPLETE FRETBOARO VII !1 III JV v VI 36 .F AEOLIAN FRETBOARD COMPLETE II III IV V VI VIl F~ I G~ AEOLIAN o cOMPLETE FRETBOARO II III IV v VI VII G AEOLIAN FRETBOARD COMPLETE VlI [ [[ III IV V VI .

1-. ..1--.-.- 1--+-+-..ap.t. I'--'~.' -1-.~ 1---. II III ~ ..++."':.A AEOLIAN COMPLETE FRETBOARD VI VII ~~-I- II III IV V .... I_". 1-- ~""·1-+C AEOLIAN I-t-f- H-+-t-lt~ COMPLETE FRETBOARO IV t-+-+.-j-". .... . ... 1--""" " -I-f-." COMPLETE FRETBOARD V VI t-t-+-.'1~- f.• .:t--j-".1-.-..: 1--+.-.+-+- B~ AEOLIAN COMPLETE FRETllOARD V VI VII II III IV .~. VII II III IV .-l.II B I C ~ AEOLIAN ~. - 37 .-f·_' f.- VI I-I-- VII ..+- r-+: f-~ . ... I-t. .t: r f--"t--- t:-f.."':'t1--1-II-- 1-1- . I-....I-I- 1--1-- -I- 1-.1-' 1-1-f-".-1--1--1-+_..: t--f---J-- v t--+-±..-1-1- Ie- +I-'_'+f-f. +-+1-1+-+- ~.-.F-' -t--.. )--..I-I- 1-+-1-.--.- I-f-". f-I:-. 1--+-.

.-I--fr-I-. tF- -.-: .- r--- rIf- _L : i-"r-..'.: f-+-' t-': - . r- '-'-' _-.~ - r- ... .f--f-I-- E AEOLIAN o COMPLETE FRETBOARD 000 II .~~.-.r-1--1... ':'1....T~ FAETIIOARO II III IV V f-- VI VII -- - . :'f-+-: r- '-r-. f-I--I-- -i-f-I- - -1-f-~.c# I D~ AEOLIAN o COMPLETE FRETBOARO IV v VI VII II III D AEOLIAN COMPLETE FRETBOARD o III IV v VI VII II r -1:-+-' f-..:.-'"+- VI VII .• ~ :-0 - F-'- ' .. r..[-'-' 1- .- t-I-+-+-+-I -38 ....-t-+- f-'- '-1--- E~ AEOLIAN COMPLE... .T'- .....-r-r- H-t--t--+I-- f-+-'':'' ... V H--I-...'-r- .:. r--t- t-H':.r-"-I-I-- 'r-. -1- F-~-"t-f-r-"" ~ .- f.. -'-c : III IV . . -t-t- ·+-I~ II.- '-.-r-- I~·· f-'-..-+-' ..

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v VI VII II III IV . C DORIAN p2 COMPLETE FRETBOARD IV V VI VII 11 III 47 . o .A DORIAN p2 COMPLETE FRETBOARD VI VII II III IV V B~ DORIAN ~2 COMPLETE FRETBOARO V VI VII [[ III IV B I Cp DORIAN ~2 COMPLETE FRETBOARD .

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c.+--1--+-t-i G LYDIAN #2 COMPLETE FRETBOARD () () 0 VII II III IV V VI __ ._.-- M LYDIAN #2 COMPLETE FRETBOARO o VI VII II III IV v -- f- 80 ...'.r I F LYDIAN #2 COMPLETI: FRETBOAflD 000 II III IV V VI VII F# I G~ LYDIAN #2 COMPLETE FRETBOARD o VII II 1lI tv v t- VI ..

o--.:~-f- f--: F--' 81 .'F-c rf.-:f-r- B I C~ LYDIAN #2 COMPLETE FRETBOARD IV v VI VII II III f--t-+-+-±---f C LYDIAN #2 COMPLETE FRETBOARD IV v VI VII II III f-f. - ~ Bb LYDIAN #2 COMPLETE FRETBOARD 00 0 0 v VI VlI "-H- 1I I!l IV f--f-- ".f-f- ''''+.c .A LYDIAN #2 COMPLETE FRETBOARD o VI VlI 1I I!l IV v _.

E LYDIAN ~2 COMPLETE FRETBOARD o II III IV v VI VII 82 ... 1-1- o COMPLETE FRETBOARD LYDIAN ~2 VI VI! II o JI[ IV V r-.r I C# I Olt LYDIAN #2 o COMPLETE FRETBOARD 0 0 III IV v VI VII II I-f- '.:f--f-lJ--+--+-+-ij- f-- .:f--f-l-I·. f-- )----1.f- \-. l- j-CI---l- I I .!- f--l. i: E~ LYDIAN#2 COMPLETE FRETBOARD 000 j j II III IV V .. VI VI! --...: H.r-.--. I !.j ~ ..

7 COMPLETE FAETBOAAD VII II III IV V VI 83 .F ALT 1107 COMPLETE Fl'iETBOAAD II 1II IV V VI VII F# IG~ ALT 1107 COMPLETE FRETBOARO o II 1II IV v VI VII G ALTIIo7 COMPLETE FRETilOAAO Il III IV v VI VII MALT Jl.

A ALT 1107 COMPLETE FRETBOARD VI VII II III IV v B~ ALT H o COMPLETE FRETBOARD 0000 VI VII II III IV v B/C~ COMPLETE FRETBOARD ALTH Jl III v VI VII IV C ALT ~7 COMPLETE FRETBOARD v VI VII II III IV 84 .

7 VI VII II o !II IV V E AlTH COMPLETE FRETBOARD o 0 II III IV V VI VIJ 85 .cu D~ ALl ~7 COMPLETE FRETBOARD o IV V VI VII II 1II D ALl If? COMPLETE FRETBOARD o 0 1II IV V VI VII II B COMPlETE FRETBOARD AlTW.

Y.19.1 YY I G A~ A E F F#/G~ cum 0 E~ C#ID~ B/C~ I C G E~ C#/D~ B/C)' D C B~ B/C~ A~ A G Ap E F F#/Gb II E~ C#/OiI C B~ A B~ B/O F#/G~ E F D C#/D)' B/C~ E~ E F F#/G~ G A~ 0 C III f-..6'5 VI VII LOCRIAN n 345 3 2 1 6 o .l ~~.YL~ I.60 .I.~YY I F I II yy I.Y.y.¥ I.I y.~~~.Y.1~~.Y. . E~ C#/D. j • o .-.~¥.Y.5 VI VII LYDIAN AUG'2 LOCI'lIAN t7 #2 1 86 7 )'6 1107 ~2 .6 ~2 1 .°9 7.~~ I YY I II YY.CHORD CHART V .~¥I YY I II Y. ~9.I¥.KEYBOARD PATT!.~I ~.Y. 7sus. °7 NUMERIC SCALE I MODE CHART VII f--I--f-f- 1 I HARMONIC MAJOR DORIAN ~5 PHRYGIAN ~4 LYDIAN ~3 DOMINANT 2 7 1 1 234 2 3 4 5 5 )'6 6 7 7 1 2 1 4 ~3 5 4 \03 2 1 lo6 ItS 7 6 5 #4 3 II III ~7 ).6.I'INS QUICK MODE GENERATOR CHART HARMONIC MAJOR I C II III IV B~ A~ A B~ V VI VII F F#/G~ CONVENTIONAL PATTERNS SWEEPING PATTERNS II Y91.1~y) A I I.-~ A~ F#/G. C A B~ B/CII G Ab E F H/GIt 0 C#/D~ E~ D B~ IV BICb A G E Ep C SCALE I MODE . °7 7.Y.~Y.¥I ~y I 0 1. b13 VI IV V -. I II III HARMONIC MAJOR DORIAN )'5 PHRYGIAN . -7.4 LYDIAN b3 DOMINANT b2 LYDIAN AUGMENTED '2 to:.Y~ I I !.7 6 ).Y. I -s.~~l I I Y.Y.9.JYY l II. to:.I ~. #9.Y.Y I.°7 .[.~Y.~IYYI 1._ I~f-.I ¥.~Y. -6 ..~~.1.Y~.y. .YI I /.7 6 5 #4 )'3 IV V 5 4 3 7 6 #5 4 ~2 ~2 1 .6+.y¥ I YY I E G II. + 6suS2 _6sus ~6 J . 11.13 ..I. 7+..4 p3 .6+.6 .Y.

r-. f-+-++-'fF'-' f-r-- ' r--r-- F# f Gb HARMONIC MAJOR COMPLETE FRETBOARD o II 1Jl IV V VI VII l--c 'f- 'f-- --~------------------~---------------------~--------------------------------------G HARMONIC MAJOR II II! COMPLETE FRETBOARD 0 .r--f--c- .' r-I- A'p HARMONIC MAJOR o OOMPLETE FRETBOARD 0 0 VII n III IV V VI 87 .4 I~4 00 VII " IV .-- V VI 4. ! . .• 4-..F HARMONIC MAJOR COMPLETE FRETBOARD o 0 II III IV V VI VII r-+. II I.

- --- Bb HARMONIC MAJOR COMPLETE FRETBOARD V VI VII II [[[ IV B I Cp HARMONIC MAJOR a COMPLETE FRETBOARD a 0 a v VI VII II III IV C HARMONIC MAJOR a COMPLETE FRETBOARD aaaa IV V VI vn II III 88 .A HARMONIC MAJOR COMPLETE FRETBOARD VI VII II III IV V 1--l-r~1FI--~I~~ 1-1-1-.

C# I COMPLETE FRETBOARD r» VI HARMON IC MAJOR VII II IV v III j D HARMONIC MAJOR COMPLETE FRETBOAFlD o !II IV V VI VII 11 Eb HARMONIC MAJOR COMPLETE FRETBOARD II III IV V VI VII E HARMON tc MAJOR COMP~ETE FRETBOAAD o II III IV v VI VII 89 .

5 COMPLETE J"RETBOARD 00 II lJI IV v VI VII f-rf-f-i-- F# I G~ DORIAN ~5 o COMPLETE fRETBOARD 0 It III IV V VI VII G DORIAN 105 COMPLETE FRETBOARD 00 0 VII II 1II IV V VI M DORIAN b5 COMPLETE FRETBOARO o VII II III v VI 90 .F DORIAN.

. C DORIAN b5 COMPLETE FRETBOARD IV V VI VII II III 91 .5 o COMPLETE FRETBOARD 0 v VI VII II III IV . ~.A DORIAN IPS COMPLETE FRETBOARD VI vn II III IV v B. DORIAN ~5 COMPLETE FRETBOARD VI VII II III IV V B I C!P DORIAN.

E DORIAN ~5 COMPLETE o FRETBOARD 1I III IV v VI VlI 92 .5 COMPlETE FRETBOARD IV V VI VII II IJj o o COMPLETE FRETBOARD DORIAN ~5 VI Vll III IV V II E~ DORIAN ~5 COMPLETE FRElBOARD III IV v VI VlJ II I •.I I C# I r» DORIAN j.

F PHRYGIAN b4 COMPLETE FRETBOARD II III IV V VI VII F# I G~ PHRYGIAN ~4 COMPLETE FRETBOARD II III IV V VI VII G PHRYGIAN ~4 COMPLETE FRETSOARD o VII " III IV V VI M PHRYGIAN ~4 COMPLETE FRETBOARD a VII II III IV v VI 93 .

.A PHRYGIAN ~4 COMPLETE FRETBOA.RD VI VII II III IV v B~ PHRYGIAN ~4 COMPLETE FRETBOARD VI VII II III IV v B I CII PHRYGIAN ~4 FRI.TBOARD COMPLETE v VI VII II III IV C PHRYGIAN b4 FRElBOARO COMPLETE V VI VII II 1II IV 94 .

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f-+-+- M LYDIAN ~3 COMPLETE FRETBOARD 000 VI vn II III IV V f-- 1- 96 .F LYDIAN ~3 FRETBOARD COMPI-ETE II [JI IV V VI VII F# I G~ LYDIAN ~3 FRETBOARD COMPLETE II m f-.-"':'f- G LYDIAN ~3 FRETBOARO o COMPLETE VII II m IV v VI f-+.---- IV V VI VII -I. f--- f-.-..

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