STUDY GUIDE HEXATONIC SCALE MASTERCLASS: BEGINNER LOAN MASTERCLASS BEGINNER MASTERCLASS ACL once hyeRoy Ziv HEXATONIC SCALE MASTERCLASS: BEGINNER Said NA In this masterciass, we'll be introducing you to the concept of the hexatonic scale and showing you some af its potertial, using exercises, arpeggios, licks and sequences, First of al, don't worry about having to deal with complex theory and new scale concepts Despite that word “hexatonic’ all we're really doing is taking the pentatonic scale and add ing just one extra note. It's only @ small adjustment, but it can give you a completely differ- ent end unique sound! Having said that, you'l still have to putin some work to reelly understand the power of this scale. ‘Tore are three parts, and each level bullds on the concepts and exercises fram the pre- vious one. To get the most out of this masterclass, | recommend that you start from the beginner section and work through the whole thing, even if you don't consider yourself @ beginner’. The hexatonic scale isn't covered very often in guitar tutorial material, so even the most advanced player can find new creative ideas and concepts in the beginner and intormadiate sections I's also vital that you understand the fundamentals covered in the boginner section oetore moving on. IMy goal with this masterclass Is for you ta use and understand the hexatonic scale just as ‘well as the pentatonic scales. In this beginner section, we'll start by learning the scale In five positions, finding the target notes, and moving around the scale using sequence pattems and arpeggios. Let's get started! Www.sTCGUITAR.COMWTC sro sus wars men WHAT IS THE HEXATONIC SCALE? By definition, the hexatonic scale is simply any scale made up of six notes per octave, just as the pentatonic scale has five notes per octave (haxe = 6, penta = 5). Two common examples are the whole-tone scale and the blues scale. In this masterclass, we'll be working with the A minor hexetonic scale, which consists of the root, 2nd, minor 316, 4th, 5th, and minor 7th. In the key of A minor, this is AB CD EG. You can think of it es A minor without the 6th note (F), but | prefer to visualise it as @ minor pentetonic scale with an added 2nd. Adding this note will give your solos more of a flexible melodic sound, making it sit better in more jazzy or fusion sattings, but i'l still work in a blues setting. Eric Johnson, Jimi Hendrix and Stevie Ray Vaughan have used the added 2nd in their blues licks. FIVE SHAPES Although we have six notes in the scale, we'll only be working with the five shapes of the standare minor pentatonic scale, adding the 2nd to each position where appropriate. These five shapes also coincide with the five basic shapes of the CAGED system. if you're familiar with CAGED, this will help you nevigate and find the root notes. (On the next page you'll see the five shapes for A minor hexatonic. Take your time end play through them, always making a mental note of the location of the root notes... WWW.JTCGUITAR.COMShape 1 Shope 3 Shape 4 Shape 5 12 4 Exercise 4 (tab/video) To help you get familiar with these shapes, Ex! shows them in both Tab and video. WWW.JTCGUITAR.COMITC HEXATONG SCALE MASTERCLASS BEGINNER Adding the 2nd note to the pentatonic shape is what gives this scale its unique sound, In order to land on this note and incorporate it into your licks, its very important to know its location in all five shapes, Here are the same 5 shapes agein, but this time I've highlighted the 2th note (B in the key of A minos) in each shape. Shape 1 Shape 2 ‘Shape 3 | = Shope 5 WWW.JTEGUITAR.COMWTC HELATON SALE MASTERCLASS: BEGWER Exercise 2 (tab/video) To familiarise ourselves with the position of the 2nds in the scale, we'll be playing the five shapes again, this time holding the 8 notes for twice as long as all the other notes. Exercise 3 (tab/video) Now welll use an enclosure technique to isolate the B notes. An enclosure simply means that you approach a target note via the notes immediately below and above. In this case, that gives us @ little phrase A-C-B, We'll do that for all B notes in all five shapes. Exercise 4 (tab/video) The same as exercise 3, but playing the enclosure in reverse. Instead of approaching our target note from below and above (A CB), we'll be approaching from above and bolow (C A 8). Exercise 5 (tab/video! When | use these scales in my solos, | lke to slide into the 2nd (8) 10 give my phrases a slighty more jazz/fusion vibo. In this exorcise welll be ascending using the enclosure technique once again, but this time sliding into the B, and resolving it ¢ 3rd down to the G. Licks 1-2 (tab/viceo) Its important that we don't just play exercises. As soon as you understand a concept, use it 10 meke something musical. Here are two short licks appiying the ideas from the lest four exercises... Lick t: This lick starts by using whet we learned in Exercise 5 on Shape 1, sliding into Shape 2 and descending using the abave/below approach from Exercise 4. Lick 2: This lick starts on Shape 4, targetting the 2nd using the below/above approach from Exercise 3, than sliding into Shape 3 using our 3rd finger. We descend with the concept from WWW.JTEGUITAR.COMATO SCALE WASTERCLASS: BEBE VITC SEADESSMLATIRS 1 FIVE-NOTE PHRASE In these next exercises, we'll be playing a five-note phrase that incorporates our target note using four different techniques: picking, hammer-ons/pul-offs, slides and bends. | use this phrase lot to start, end, and connect different licks together, so it's important that you're able to approach it with any of those four techniques, Each technique gives the phrase a different sound. Here's the basic phrase 5 note phrase ‘And now we'll apply the four techniques to it. Exercise § tabyvi Descend through each shape, playing the five-nate phrase whenever you reach a B nate, using alternate picking, Exercise 7 (tab/video) Descend through each shape, playing the five-note phrase whenever you reach a B note, using slides Exercise B (tab/video) Descend through each shape, playing the five-note phrase whenever you reach a B note, using hammer-ons and pull-ofts, Exercise 9 (tab/video) Descend through each shape, playing the five-note phrase whenever you reach a B note, using a beng. WWW.JTEGUITAR.COMLicks 3-5 (tab/video) Here ate 3 short licks that incorporate the five-note phrese, Lick 3: We start with a classic blues lick in the Shape 1 of the hexatonic scale, then finish off with the five-note phrase using a slide. Lick 4: This lick starts in Shape 3, using the five-noto phraso with a bend. It then slides into Shape 4 with a short ascending run, until we hit the 15th fret on the high E string with a full bend. Lick 5: This is one of the licks | use most of allt starts with the five-note phrase in Shape 1, using a hammer-on and pull-off, CONNECTING THE SHAPES To really get comfortable with this new scale, you need to be able to move effortlessly between the five shapes. This will holp you move beyond the ‘boxes' and vertical mentality, enabling you to approach the neck in a more Iinear and horizontal way. ‘These next few exercises focus on linking the shapes up and down the fretboard using different combinations of strings. The aim is to be able to jump to different shapes, regarcless of what string you're on. Keep in mind that when we reach Shape 5, we then move up to Shape 1 again, but now an octave higher... at the 17th fret, instead of the 5th fret. (Exercises 10-14 are all ascending up the fretboard) Exercise 10 (tab/video) Connecting the five shapes using all six strings Exercise 11 (tabivideo) Connecting the five shapes using the E and A strings Exercise 12 (tab/video) Connecting the five shapes using the E, A and D strings Exercise 13 (tab/video) ‘Connecting the five shapes using the E, A, D and G strings Exercise 14 (tab/video) Connecting the five shapes using the E, A, D, G and B strings (Exercises 15-9 are all descending down the fretboard) Exercise 15 tabi Connecting the five shapes using all six strings WWW.JTCGUITAR.COMWITC GMT ees ae Exercise 16 (tab/video) ‘Connecting the five shapes using the E end B strings Exercise 17 (tab/video) Connecting the five shapes using the E, Band G strings Exarclao 48 fabs Connecting the five shapes using the E, 8, G and D strings Exercise 19 (tab/video) Connecting the five shapes using the E, B, G, D and A strings ‘SEQUENCES Asscale sequence is a fixed melodic pattern, appliad to different starting points in a scale. Almost every solo you hear uses a few sequences. We use them to connect licks together, and to move up and down the scales in a mare melodic and interesting way. ‘This next section is ail using various melodic sequences within our five shapes. The more sequences you know, the more interesting your scales can sound. There's nothing wrong with playing a scale up and down, but sometimes it gets too predictable. Practising these sequences will also help you build fluency and technique within the hexatonic scale. Exercise 20 (tob/video) In this sequence wo ascond three strings starting on the low E string, then ascend another three strings, starting on the A string, and so on. Repeat that pattern until you get to the high E string, then do the same thing backwards (EB G8 GD, GD A,D AE) Exercise 21 (tab{video) In this pattern, we're ascending and descending in three-note groups... 1-2-3, 2-3-4, 3-4-5 etc, Exercise 22 (tab/video) Same es the previous exercise, but ascending end descending in four-note groups... 2-3-4, 2:3-45,3-45-6 etc. Exarcisn 23 Cab/vi This next sequence is my favourite. We're moving through the shapes by playing alternate notes. 1-3-2-4.3.5, etc. Mostly this means we're playing 3rd intervals, but there are also some 4ths, because of the structure of the scele. Basicelly you're skipping @ note, and moving back one: 13, 24,35, etc. Exercise 24 (tabivideo) This exercise is less of a sequence and more of a pattern that | call ‘descending while ascending’ or ‘ascending while descending}. Basically, we ascend through the strings while playing a litle WWW.JTCGUITAR.cOMWTC voxone SagiMsTaGAS BNR descencing pattern on each string, and then we descend through the strings while playing a little ascending patiern on each string! Exercise 25 (tab/video) The last sequence involves string skipping. This is another great way to deepen your knowledge of a scale, going beyond the basic up/down patterns. Here are a few shor licks that incorporate these sequences. Lick 6: This lick uses the three-string sequence from Exercise 20 in Shape 2 Lick 7: This ick uses the three-note pattern from Exercise 21in Shapes 2.and 3 Lick 8: This lick uses the four-note pattern from Exercise 22 in Shape 1 Lick 9: This lck is played in Shape 4 and descends in 3rde using the sequence from Exercise 23 Lick 10: This lick uses the ‘ascending while descending’ sequence from Exercise 24 and moves through Shapes 3, 4and 5. Lick 11: This lick uses the string-skioping pattern from Exercise 25. it starts in Shape 1 and ends in Shape 4 WwwTecUrTAR.COMVTC smo sus warns men SINGLE STRINGS ‘A common problem with guiter players is thet we get too comfortable with scale boxes, meaning that wo play in vertical patterns instoad of moving horizontally or diagonally across the nock. To tackle this issue, we're now going to work on the hexatonic scale using one string at a time. This will really help you to visualise the scale all over the fretboard. It's also a vary useful teal to get from one area of the neck to another, ‘You can use any fingers you want for these exercises. Exercise 26 (tab/video) Play the scale up and down on each of the six strings, sterting wit the high E string. Exercise 27 ftabivé In this exercise we'll apply a sequence: groups of three (see also Exercise 21). Exorciso 28 (tab/vidoo) Play the scale on one string in groups of four (see also Exercise 22) Exercise 29 (tab/video) ‘This is similar to Exercise 28, but the four-note group has e different pettern: 13-24 Jcks 12-44 (tab/video) Here are three short licks using some of these single string sequences. Lick 12: This lick uses the four-nete sequence trom Exercise 28, mostly on the 8 string, Lick 13: This lick uses the three-note sequence from Exercise 27, on the high E string. Lick 14: This lick uses the sequence from Exercise 29 on the B string. www.sTesurTaR.comWTC CATING SALE WASTIRUSS BGR ARPEGGIOS Alot of my playing is based around small groups of triads and 7th arpeggtos, and most of them are available in our hexatonic scale. The beauty of these builtin arpeggios is you can easily visualise them and join them together to create massive sounding licks! Let's revise some basic theory. Atriad is a set of three notes made from stacked 3rd intervals. For example, an A minor triad contains the notes AC £ (A-C Is @ minor 3rd, C-E Is @ major 3rd), An A major triad Is A C# E (A-C# Is a major 3rd, C#-€ is @ minor 3rd). In our A minor hexatonic scale, we can build triads from the A, C, E and G notes (the roct, minor 3d, 5th and minor 7th). That gives the folio ACE minor triad CEG ‘major triad EG B=E minor tiad GB D=G major triad See? All of those triads are built from stacked 3rd intervals, and we have only used notes from within A hexatonic. Moving through the scales using triacs gives 3 much more musical and ‘mature’ sounc. It allows us to hit extensions and ‘flavour notes’ on a lot of the diatonic chords related to our key. For example, playing aver an A minar chard, the mast obvious triad would be A minor (AC E). But f we play aC major triad (CEG) instead, we have the 3rd, Sth, and minor 7th of the underlying A minor chord. With an E minor triad (E G B) we get the Sth, minor 7th, and Sth, and finally the the G major triad (6 BD) over the A minor chord gives us the minor 7th, 9th and tth! Hiting these notes while soloing adds e lot of colour to your sound, You'll ind more unique and interesting melodies. (On the next five pages you'll see the arpeggio snapes for each of the five positions: www.TesurtaR.comWITC shape 1 lures tres ae Amin maj Str. Thr. G Maj Str. Tr. AMin Cc Maj Sf. Tr. Str. Thr. E min WWIW.JTOGUITAR.COMWSTC UTC SALWAR Shape 2 Maj EMin 7. ofr, 7 of G May AMin 7. ofr, Ir CMa} EMin 7. ofr, 7. ofr G Maj 7. ofr. WWW.JTCGUITAR.COMVITC Von Sar uaTaGUS BN Shape 3 EMin G Maj oF. 12fr. ofr. 12: AMin cma ofr. 1efr ofr. 12tt EMin G Maj ofr. 12fr ofr. 12%, AMin SFr. 12fr. WWW.JTCGUITAR.COMShape 4 Emin G Maj 12 15fr 12Fr. 15h Amin May 12fr 15fr 12fr. 15% Min G Maj 12m 15f. 12hr 15fr. Amin c Maj 12f 15fr. 12%. 15fr. WWW.JTCSUITAR.COMWTC lomesarueasun Shape 5 ‘G Maj AMin 15 te 1st. 17h. C Maj E Min 15fr. 17fr LSfr. 17fr. G Maj AMin 15fr. 17fr 15fr. 17fr Maj 15fr 17. Wwww.sTesurTar.comExercise 30 (tab/video) In this exercise we're just going through the trieds in each shape. Try to familiarise yourself as best {as you can with these triad positions, Ifwe add one mare note ta each triad, we get 7th and 6th arpeggios. Taking aur four existing triads and adding anothar 3rd interval, we get the following. Aminor triad (ACE) +G = A minor 7 (Am7) (C major trad (C E G) + B = C major 7 (Cmaj7) E minor viad (€ GB) + D = Eminor 7 (m7) In one cese it's not possible to add another 3rd interval. If we take the G major tiad (G BD) the next-but-one note is @ 4th interval, taking us to G (the roo!). So instead we use the next note in the G major triad (G B D) + E = G major 6 (66) On the next five pages you'll see our new four-note chords, moving through all ive shapes...ATO SoA MASTRCUSS- BERNER Shape 1 Amin? mas? sir The Shr 7 Min? ss Str The Bt fe AMin? cMma57 Sf. Tr. Sr. ThrWTC EUTOE STE MISTS Shape 2 cMay7 EMin7 7h. ofr, tr. ofr. GS AMin7 The ofr 7 oft Maj? E Min?WIC ATCC WATS aR Shape 3 EMin7 66 SFr. 12h ofr 12fr. A Min? cMaj7 ofr. 12h. ofr. 12ff. EMin7 66 SFr. 12f fr. sf.WTC BEXATONIC SCALE MASTERCLASS: BEGINNER Shape 4 E Min? ca 12fr 15fr. 12fr. i5fr. Amin? car 12fr. 15fr. 12fr 15fr. E Min? 6s 12fr. 15fr. 12fr 15fr. AMin7 12. 15UTC rocacxguseoss Shape 4 Min? 66 12fr 1sfr. 12fr ifr AMin7 C Maj? 12fr Str 122i 15fr Min? cs 12% 15fr, 12%. 15h AMin7 12fr. 15fr.WTC NOME SAL MASTS: BR Eeercise 3 ie ‘Samo thing wo did in Exercise 30, but this time using the four-note arpeggios. Exercise 32 (tab/video) ‘This exercise Is about connecting the arpeggios to the scale notes to holp us resolve our licks. Play the erpeggio in an escending direction, end then descend through the scale until you reach the first note of that erpeggio. Repeat using each arpeggio in each position. Exercise 33 (tab/video) Play the four-note arpeggios back and forth in each shape sche 15-47 tbh Here are three short licks that incorporate these arpeggios. Lick 15: This lick starts in the Shape 1 and goes through the Em7 and Cmaj? arpeggios, Lick 16: This lick starts in 3rd position and moves through the A min? and Cmaj 7 arpeggios. We then move back to the 2nd position end ascend up a Cmaj7 arpeggio Lick 17: This lick starts in Shape S and descends through a G major triad. We then move to Shape 4, playing through an Em? arpeggio and an Am? erpaggia.WTC HEAT SALE MASTERS SER ‘SOLO & SOLO STUDY LICKS As | said before, its vital that you apply new technical and theoretical concepts to real music as soon as you can. In my solo, you can see lots of examples of how | apply all the concepts we've studied S0 far. Is up to you how you use this solo... you could learn the whole thing, learn your favourtte licks or just use it as inspiration to improvise your own solos over the backing track. IF you decide to study the solo in full, you might find it easier to work in chunks. The six longer ‘Study Licks are designed so you can work on ‘mini solos’ before linking them all together Into the full solo. Solo Study Lick 4 {tab/video) Bar tis played over Shape 4, and uses the the five-note phrase we learned at the beginning of this masterciess. We then jump back to Shape 2 in ber 2, using the D string to connect Shape 3. In bar 3 we're simply ascending up Shape 1 starting on the D string. When we reach the high E string, we slide into the next scale shape, and descend using the four-note sequence we learned earlier. Solo Study Lick 2 (tab/video) ‘This lick starts with some bends in Shape 4, and then descends on the E string using the throo. note sequence we learned. In bar 4 we outline a G major arpeggio (G B D) in Shape 2, and an Em7 arpeggio (E GB D| in Shape 1 Solo Study Lick 3 (tab/video) ‘This is a ‘call and response’ lick where | play an idea, and then ‘answer’ it with another idea. In bars 1.3 we altarmate between Shapes 4 and 3, and in bar 4 we descend using the three-stting sequence until we reach the A string, At the end of bar 5 we jump to Shape 1 and ascend using Em? and a Cmaj7 arpeggios. Solo Study Lick 4 (tab/video) We start by connecting Shapes 2, 3 and 4 using the E, B and G strings. The first few notes in Shape 2are outlining an Em7 arpeggio. We then descend using the string skipping sequence we worked on earlier, and quickly ascend using the ‘ascending while descending’ sequence. When played together, these two sequences blend really well, Solo Study Lick 5 (tab/video) Here's e coal short bluesy-sounding lick thet really emphasises the 8th tension in our scale. The lick sterts with @ bend on the second scale shape, but most of it continues over the first scale shape. Solo Study Lick 6 (tab/video) The first two bars use the string skipping sequence In Shapes 1 and 2, then jumps to Shape 4, where we play a short blues type pirese that ends in Shape 3. WwwsTesUITAR.COMWTC ACD SAEMASTEAS. BE [hope you enjoyed this mesterclass end ere eventuelly able to use this scale in your own playing Try and come up with your own unique licks and scale sequences, and don't be afraid to explore this scale further then what we learned here. This is my favourite scale, and | would say that almost 9025 of my solos aro based off of this concept. In my opinion, the notes and intervals in this scalo sound so great together, and work over just about anything. In the Intermediate and advanced sections, we'll be looking at incorporating the flat Sth blues note, chromatic passages and devices, 2-note-per-siring scale shapes, 3-note-per-string scale shapes, and much more! See you in the intermediate section, Roy Ziv WWW. JTCGUITAR.COM