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Scale and Arpeggio Resources

Scale and Arpeggio Resources

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Published by rich_cochrane
This is the most complete book of guitar scales and arpeggios ever written.

It's truly massive: more than 400 large pages packed with diagrams, analysis and explanations. Of course it includes all the basic, common scales you need to play rock, blues, jazz and so on, but also a vast number of exotic resources for you to experiment with and use to develop your own unique sounds. Many of these have never or hardly ever been used before.

A very thorough chapter on scale theory is included: it provides a solid foundation and ensures you'll never again be confused about modes, the most useful but also most misunderstood concept in modern guitar theory. I use this as the basis for most of my theoretical teaching with students who are ready for single-note work.

The complete electronic version of this book is provided FREE by the publisher under a creative commons license. Please seed and share at will, and consider supporting the author by buying a paper copy if you like it.
This is the most complete book of guitar scales and arpeggios ever written.

It's truly massive: more than 400 large pages packed with diagrams, analysis and explanations. Of course it includes all the basic, common scales you need to play rock, blues, jazz and so on, but also a vast number of exotic resources for you to experiment with and use to develop your own unique sounds. Many of these have never or hardly ever been used before.

A very thorough chapter on scale theory is included: it provides a solid foundation and ensures you'll never again be confused about modes, the most useful but also most misunderstood concept in modern guitar theory. I use this as the basis for most of my theoretical teaching with students who are ready for single-note work.

The complete electronic version of this book is provided FREE by the publisher under a creative commons license. Please seed and share at will, and consider supporting the author by buying a paper copy if you like it.

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Published by: rich_cochrane on Apr 01, 2012
Copyright:Attribution Non-commercial

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11/26/2015

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The Harmonic Minor contains two major triads separated by a semitone, and they

can be extended to a ∆ arpeggio with a dominant arpeggio a semitone below. Here

the roles are reversed; you have a dominant arpeggio with a ∆ arpeggio a semitone

below.

The Rasikapriya Scale

1∆

2[m]

3m∆

4d 5

5+

6[◦]

7∆

[mT, s, t, s, mT, s, s]

The Senavati 4 Scale

1[m]

2m∆

3d 5

4+

5[◦]

6∆

7∆

[s, t, s, mT, s, s, mT]

216CHAPTER12. ALTERED-NOTEHEPTATONICSPART 2:THEHARMONICMINORSCALE

The Harmonic Minor 4 (Simhendramadhyamam) Scale

1m∆

2d 5

3+

4[◦]

5∆

6∆

7[m]

[t, s, mT, s, s, mT, s]

Some books refer to this as the Hungarian Minor scale, probably due to its inclusion

in a collection of Hungarian scales by Liszt. The author has also seen this referred

to as the Algerian Scale in a list of scales used by Robert Fripp but can’t confirm

whether the list is reliable.

The Chakravakam 5 Scale

1d 5

2+

3[◦]

4∆

5∆

6[m]

7m∆

[s, mT, s, s, mT, s, t]

• •

• •

• •

The Augmented 9 Scale

1+

2[◦]

3∆

4∆

5[m]

6m∆

7d 5

[mT, s, s, mT, s, t, s]

The Kanakangi 5 Scale

1[◦]

2∆

2∆

4[m]

5m∆

6d 5

7+

[s, s, mT, s, t, s, mT]

• •

• •

• •

12.4. THE HARMONIC MINOR 4 SCALE GROUP

217

The Double Harmonic (Mayamalavagowla) Scale

1∆

2∆

3[m]

4m∆

5d 5

6+

7[◦]

[s, mT, s, t, s, mT, s]

218CHAPTER12. ALTERED-NOTEHEPTATONICSPART 2:THEHARMONICMINORSCALE

13Altered-Note
Heptatonics Part 3:
The Melodic Minor
Scale

There are only three possibilities, because several others have already been covered

in the previous chapters. The Melodic Minor with a 4, for example, is a mode of

the Lydian Minor. These three sets of scales complete the coverage of all of the

possibilities for the altered-note principle – a total of 98 scales, each one reasonably

easy to learn if you’re already familiar with the common heptatonics.

The Melodic Minor 4 and Ramapriya are both 3s 3t 1mT scale groups; the former

does not have consecutive semitones while the latter does. The Neapolitan is one

of only three scale groups having the composition 2s 5t; it is the same as a Whole

Tone scale with an extra note added (the Whole Tone is covered in the chapter on

symmetrical scales).

219

220CHAPTER13. ALTERED-NOTEHEPTATONICSPART 3:THEMELODICMINORSCALE

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