“40 Scale Sequences”

Copyright © 2016 Alfred Potter

Rights reserved. While the individual sequences and examples herein are free for the reader to use and share
for learning purposes (for example with friends, bandmates, students etc), the publication as a whole may
not be reproduced, redistributed, or transmitted in any form or by any means, including photocopying or
other electronic or mechanical methods, without the prior written permission of the publisher.

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First things first! Make sure you go to the following web link to download the audio files for
the sequences contained in this book:

www.AlfredPotter.com/audio/40SSaudio.zip

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A sequence is a repeated and ordered pattern applied to the notes of a scale or arpeggio.

Imagine walking in a straight line for 8 steps. You could go ahead one step at a time like you
normally would or you could decide to mix it up. For instance, you could step forward 3
times and step back once. You could step forward 4 times and step back twice. You could
even leap forward a distance of 2 steps and then take a step back. All of these would be
different ways in which you could walk ahead 8 steps. They are different patterns. They are
different sequences.

From the moment you learn a scale, it is your duty as a musician to convert it into music.
Playing scales up and down the same way forever simply won’t cut it. And so the use of
scale sequences is the answer. Sequences are an essential part of fretboard freedom and
musical freedom. The more you master, the more interesting and creative sounds you can
make with scales.

Using sequences can change the way in which your guitar leadwork affects a track/song/jam.
For instance, simply playing up through the notes of a scale produces a rather bland and
straightforward result, represented below by a straight line. Whereas applying something
powerfully intervallic like the “Pentatonic Skipped 7ths” sequence produces a far more
jagged and melodic sound to the ear, represented below by the jagged rising line.

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Play through the examples. Alternate pick everything – including slides. Apply them to
different positions/scales/modes/keys. Familiarise yourself with the different sound of each
sequence. Next time you jam, make sure to incorporate them into your leads. Perhaps
between licks, melodies or scale runs you already know.

Remember to mix it up: if an example tells you to perform a sequence as triplets, have a go
at playing it as 16th notes (4 notes per beat) or vice versa. Different notes of the sequence will
land on different beats and can change the sound. You may be very pleased with what you
discover!

Pay very close attention to the fretting fingering instructions under some ambiguous tabs.
Play examples exactly as specified to avoid unnecessary difficulty and confusion:

I’ve cut this book up into a number of parts: Single string sequences, two string sequences,
pentatonic full scale sequences, 3-notes-per-string full scale sequences, mixed sequences,
and special sequences. I will provide an in-depth description for each sequence and any
further playing instructions. I also got a bit carried away and included a few bonus examples.
Enjoy!

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 1. “sixes” C minor

The pattern here simply repeats three notes and then shifts sideways to the next
position. It is a fundamental picking pattern and is used in many other more
complex sequences.

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 2. “jump sixes” C minor

Similar to the previous sequence, this is different in that after the first note, you
jump over a note and then backtrack and return. It gives a jumpy sound to it and
hence the name. Vinnie Moore called this the violin pattern or the flute pattern or
something similar. I suppose it does have a somewhat classical sound to it.
Especially if you were to apply it to a scale like the Harmonic minor/Phrygian
dominant.

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 3. “Leading index finger” E minor

The last two sequences were triplets. This one isn’t. Although feel free to try it as triplets for
a challenge! I call this “Leading Index Finger” because the index finger is held down
constantly the whole time including through position shifts. All slides are done with the
index finger. Alternate pick every note as I said earlier. These aren’t legato slides.

4. “small pivots” E minor

The pivoting is done with the pinky on the ascending and the index finger on the descending.
The sequence plays the first note, skips a third, plays back a note, and then forward. This
results in a bouncy, classical sound.

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 5. “sixes” B minor

I’ve always called this one “Vinnie Moore 2-string” as I remember seeing him playing
through this in an old instructional video and have associated the sequence with him ever
since. The sequence plays six notes and then does a position shift. It’s simple and rather
commonly encountered in rock and metal.

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 6. “Pivots” B minor

This is a two string adaptation of sequence #4 “Small Pivots”. It’s slightly more difficult
than the last sequence but I think it’s far more elegant and interesting. Remember what I said
about the kind of sounds different sequences create? #5 was pretty plain and linear whereas
this “draws” a more bouncy feel in the musical imagination.

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 7. “Linear threes” a minor

I love the way this one lingers. It takes far longer to get to the position shift than the other
examples so far. This is of course due to how it doubles back on itself so heavily. I call it
“Linear Threes” because it’s a very straight sequence – it steps forward 3 notes and then
steps back 1. No skipped notes except for the position shift. And for this reason it creates a
sleek sound. Flat and streamlined. More so in the full scale version but you can hear it here
regardless.

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 8. “skipped 3rds” a minor

This is one of the bounciest sequences I know and one of my all time favourites. It can be
tricky – no doubt! But it feels cool and light under the fingers as only one finger is ever
fretting at any time. Be careful with your note transitions here. Keep them clean. By the way,
the skipping around in 3rds like this is known as “Diatonic 3rds”. I just choose to call them
“Skipped 3rds”.

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 9. “Linear Fours” a minor

The same as “Linear Threes” except this one goes forward 4 and then back one instead of
forward 3 and then back 1. I still find it has a cool lingering sound to it but not quite as much
as “Linear Threes”.

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 10. “Difficult Fours” G minor

The sequence is very common yet I always find it difficult compared to other sequences.
Difficult. Hence the name! The sequence goes forward 4 notes and then skips back a third to
start the pattern again. Right up until the position shift.

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 11. “sliding 16ths” a minor

This is rather long and complicated but it spices our sequences up as it introduces sliding.
Absolute favourite of mine right here. I love to play it with legato and I bet you will too so
give it a go!

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 12. “Jumpy 12” G Whole-Half

I set this in the G Whole-Half diminished scale to make it even more interesting, but you can
play it with any other scale you wish. Careful with the fingering instructions. I recommend
you play it as indicated but feel free to experiment. I named it “Jumpy 12” because it has a
jumpy sound and the basic repeating unit has 12 notes in it. Not too imaginative but it suits.

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 13. “Classic Paul Gilbert” D minor

If you’ve ever turned to some Paul Gilbert instructional videos to kickstart your technique
then you’re bound to recognise this idea. The significant part of this sequence is where it
goes to the next string to play just one note and then returns. Although this tab tells you to
play it as triplets, be sure to try out regular 16th notes too (4 notes per beat).

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 14. “Pentatonic Linear Fours” A minor

As with sequence #9, the pattern of notes is as follows: Forward 4, back 1.

15. “Pentatonic Linear threes” A minor

Same as before, only the pattern is: Forward 3, back 1.

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 16. “Pentatonic sixes” A minor

Sequence is: Forward 6, back a string. Try as regular 16th notes too, not just as triplets.

17. “Pentatonic skipped 4ths” A minor

Be very careful with this and the following 2 sequences. As you can see underneath the tabs,
there is an awful lot of finger rolling going on in order to play adjacent notes. Perfect note
separation and muting is a must.

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 18. “Pentatonic Skipped 5ths” A minor

I find this sounds incredibly similar to “Pentatonic Skipped 4ths”. Still, learning both
certainly can’t hurt. Of the two, I tend to use this one more frequently.

19. “Pentatonic skipped 7ths” A minor

Here’s the craziest of the skipped pentatonic sequence patterns. The string skipped finger
rolls certainly take a bit of practice. But wow what a wide and ear catching sound!

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 20. “Classic Paul Gilbert” B Phrygian

This is the 3-notes-per-string (3NPS) version of sequence #13. Example is in B Phrygian

which is the exact same thing as E minor (relative key). As I said, check out some old Paul
Gilbert instructional videos and you can’t miss this sequence. It’s clearly a favourite of his.

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 21. “Linear threes” c major

We’re revisiting “Linear Threes” again for this one. This time applied to the 3NPS C Major
scale. Careful on the G string. There’s a point where we change the fingering in order to
keep the pattern flowing smoothly. On the ascending the index finger jumps forward a fret.
On the way back the index finger slides back a fret.

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 22. “Linear Fours” D Mixolydian

Forward 4, back 1. For the whole scale. Definitely try this as triplets too!

23. “sixes” A Harmonic minor

A very common sequence indeed. Forward 6, skip back a 3rd. Here in the Harmonic Minor.
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 24. “Skipped 3rds” B Phrygian

As I said earlier, the real name for this sequence is “Diatonic 3rds” but I simply call them
“Skipped 3rds. Go slow with this one. It is very demanding on the picking hand as there are
so many string crosses. Despite its difficulty it is one of the most common sequences you
will encounter. Follow the fingering instructions closely to avoid tying your fingers in knots!

I included a bonus example here, in G Mixolydian (Same as A minor Scale), to show how
you can move sideways through the sequence to cover more distance.

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 25. “Skipped 4ths” c major

“Skipped 4ths” (Diatonic 4ths) works better as a box position instead of 3NPS for this
example. The sequence skips up a 4th, the skips back a 3rd. Careful with the finger rolls!

26. “skipped 5ths” c major

So similar to “Skipped 4ths” but presented here as 3NPS. I prefer the sound of 5ths. The
sequence skips up a 5th, then skips back a 4th. Which of the two do you prefer?

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 27. “Difficult Fours” A minor

Perhaps even more common than “Skipped 3rds”. You can hear this sequence almost
everywhere in music. It is very catchy and I often find myself humming it. Perhaps this
catchiness explains its popularity. This is the full scale version of sequence #10.

Notice how each string pair unit is 12 notes long? This is why I like playing it as 16ths
(default) as it creates 3 groups of 4 notes. It’s also why I like to play it as triplets as it creates
4 groups of 3 notes. Keep changing up the note groupings/accents to challenge your hands.

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 28. “tidal 16ths” C# diminished

I love the combination of this sequence and the scale in which I have presented it in: the C#
Whole-Half diminished scale. This sequence has a real ebb & flow feel to it – a tidal effect.
It washes up and down through whichever scale it’s applied to in a very satisfying way. As
always, don’t just stick with the C# Whole-Half diminished scale. Try it out with other
scales.

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 29. “Linear sixes” b phrygian

Forward 6, back 1. This long diagonal sequence covers a lot of the fretboard.

30. “Pivots” c Harmonic Minor

This is sequence #4 “Small Pivots” applied to a full scale. You can easily achieve a bouncy,
classical sound with this fun pattern.

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After playing through the sequences for a while, it’ll soon be time to start mixing or blending
sequences together into scale runs. It can be as simple as playing half a scale with one
sequence and then seamlessly switching to a different sequence for the other half. A good
way to switch between sequences is to intentionally pick a beat to change on. For instance
you may decide to play a certain sequence for 8 notes and then change to another sequence
for the next 8 notes. Let’s look further into this with a single string example, a 2 string
example, and a couple of 6 string examples.

31. “Mixed #1: Leading index + small pivots”

The first 4 notes are from #3 “Leading Index Finger” and the next 4 notes are from #4
“Small Pivots”. This is a good example of how you can mix sequences together on a single
string. I think that this combination sounds better than #3 or #4 did by themselves. Key is G
minor.

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 32. “mixed #2: skipped 3rds and pedal
tones doWnWards”

Moving on to a 2-string example, this combines #8 “Skipped 3rds” with #40 “Pedal Tones
Downwards” to create a truly elegant and sophisticated pattern. Key is A minor.

33. “Mixed #3: triple combination”

The first 16 notes are #22 “Linear Fours”, the next 16 are #27 “Difficult Fours” and the final
8 (+1 to finish) are #8 “Skipped 3rds”. So this is a B minor example of how you can blend 3
sequences into an interesting scale descent.

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34. “mixed #4: Leading index & skipped 3rds”

While I enjoy the descending pattern I’m not too fond of the ascending. But I thought I
would include both regardless as this example does a good job of mixing 2 sequences across
a whole scale. It combines the “Leading Index Finger” sequence with the “Skipped 3rds”.

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These “Special Sequences” are ones which I think sound particularly cool. I wouldn’t have
been satisfied with this book if I had omitted them. Some are scales and some are arpeggios.
Have these as a reward for making it this far!

35. “Quintuplet steps” Amin11 arpeggio

Many things make this interesting. The note groupings are in fives, or, “quintuplets”, the
numbers of notes per string make it memorable, and this whole example only contains the
intervals of an Amin11 chord/arpeggio: R, m3, 5, b7, 9 & 11. This is tricky to play because
of the single note on some strings. Alternate pick as usual – no sweeping!

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 36. “Diminished arpeggio skipped 3rds”
#36 and #37 are two ways in which a diminished arpeggio can be sequenced. #36 standard is
fun to play as triplets too. Check out the bonus for a neat diagonal idea. I was so ridiculously
pleased when I came up with #37. The fingering pattern for that is just perfect.

37. “Diminished arpeggio Difficult Fours”

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 38. “sliding 16ths” B Diminished

Here’s the idea from sequence #11 applied to a long, diagonal Whole-Half diminished scale.
While I use it with the diminished scale for practice (as it engages all 4 fingers), I most
commonly use this with other scales. Like sequence #29, this is extremely effective at
moving great distances along the guitar neck.

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 39. “Heavily skipped 3nps blues scale”

Guaranteed to prick up your ears and those of the people around you. The wide, intervallic
appeal mixed with the raw attitude of the blues scale makes this a stunner. Pay close
attention to the fingering instructions and make sure to get those string skips clean. C#min.

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 40. “Pedal tones doWnWards” c major

You should know by now how much I love pedal tones (aka pivot points). Here are some
more! The first two notes on the G string are played with the index finger. Don’t miss it.

41. “Root, 5th and 3rd horizontal” d minor

I know it was only meant to go to 40 sequences but I just couldn’t leave this one out. This
picks through the arpeggios of the D minor scale – with wondrous results.

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Your purchase of this ebook has helped me personally, as I
hope I have helped you. I am an individual, not a business,
and every bit of financial help I receive is incredibly
appreciated and furthers me along the road to my dream
career: teaching guitar to the world!

- Alfred Potter

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