Exotic scales



ALTHOUGH in.spiration MAR.TY FRIEDMAN made his name

Help,; impl"ClYe YOlJr~

with '90s metal iii

superstars Megad-eth, "Is personal


and far

• L@ft~hand fingeril1g • seese (If IfMlodic aaven~ili'e.! 'Music: For Speedins;'

hM orten been the music of tile middle East. His first solo album,'Scenes.' (1992, Shrapnild), was a collaboration with new age star Kitaro, foliQwed by 1994's 'Introduction', which boasted even :stronger Japanese fI!l\llOllr. Other albums
indude'True Obsession' (1996) and the jusc released Nations in the records in Europe. hvored aggreuiw


A. wi," ~1 Used In EXAMPLE 2


(Mascot hili more

USA), 'Which revis1t3 www.arnaztH'l.co.uk

their phrases."

"I learned from foreign instruments and copied

Mcgadelh, quietly career



playing. You


Bet it from

SM.. .
. for grounding he we've

any Friedman

made his

Marty admits any particular his penchant theoretical

A Sp,"'ohG,p" Used~n EXAMPLES 2&3

name vla amultlcareer with the way he's solo

exotic scales Jsn't really based on "l let.
says. my cars (10 all the theory," In this masterclass,

spe-ed metallers yet all along a successful


in parallel

He's now a and GT caught a recent

included all the main scale shapes
that- his nifty ears have picked up


A " .•• ".'"


sole artist.

LIP with him during

Marty many


years, 1mLremember


(moce4ofthe harmonic minor) U"ill"ld in EXAMPLE I, 9th position

promotional tour of .IUs new album, 'Musto For Specd.1ng', to find cut,
more about of his most has always been

very often different

dips his toes into Sl'l.aPES. Your cars

should under

also be your snide once



these shapes are comfortable

His solo material


a bit. or a departure (rom the diehard riIfuJ.g Of Mega-dcth, but even
d~lri_ng the days of accornpnnytng the pounding Mustalne, guitar playing of Dave Marty's love of Eastern



FRiEDMANIA MAIm' FRIEDMAN USUALLY PLAYS hi:; own jeckson signature
model, the KE·I Many friedlTWl,

music has always had. an outlet, "I. didn't want lO learn th-e same
stuff as everyone else, so (learned

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from foreign lnstru_rn_cots and oopted tneir pnrases.v he says. "In Middle Eastern music, their phrases are quite similar to what I've been dQing for a long time, with a Lot of odd patterns. The reason ls because they
have thousands of years of music

now discontinued
new- or second-hand.


you find


you'll discover

it's: a simpk! alder bod)'/~top

guitar with a thru--neek. I-pickup.
no-tone eerercl and a Khaler fixed

history, the fl1US~C has evolved, so when thev hear these odd rhytluns, it's like us listening to AC/DC!"

bridge. for eeeesue passa,ges. Friedman play!. various. Alvarez g\lMn;. an-d USi!$ Crate Blue \Ibodoo 110 heads and Cnte -4)(12" cabs.

&IDm ~,~~,~~:;' ;!
Undl. EXAHPLE5 ~


aI"i: W'!:nI:': 3Tm~ h in the taking of thi~ photo.rseverenc.rcl .. EVERY PLAYER interested in Marty's ma. move on! Pracdcing things you ~ •••• dislike is tedious. and this lesson could be a first nep.@PROTIP H~ Friedn'HIIl: OQ znim. a desire to move beyond the bluesbased sales used so often In rock.. . but rf you :5-implydon't llke hs melodic feel. The latter tyst req ulres pe..". probably harbours. But try and distinguish the difference rat between Ukinllone 01 these new scale! and finding It hard co master.

and then g l orr it sn-aighl ~i'W"·cly." Freetime N.Exotic scales MARTY FRIEDMAN MASTERCLASS is the glancing bend thut involves b ruling fr In art outside note. but then iL brings you back in quickly. it sounds like you're seasick or something. you geL a shade of the target note. AS " 36 Glut"r1echnique: MAY 2003 .C. You do 1. "The trick is to start with the left hand ul.like you're muking a mistake. Just long nough 10 sound so outside . r.the target Hole.00 much though. it 6 BD BU 5}---(4)-{S S--2--4-{S}---(4}---(S -{7}----(6l--(7)-(6}---(7 PBa BU BD BU S-----7-----5~-{8r--i7r___l8 7)-5 S-{9)--(al--19 SD BU SD au 8-5-2 10)-a------7-{8)-{7}---(S)---S 9 r---3----.

? If you cun lind the l . 'l'hey don't have a I. ~~ 0) 8 G 0 '~7 7 -10 10 B________. ~~.~ '7-a~10~8~7-8---7 N.10- ~ . ~a 7-B-1Q-ij-7 s ~~ ~D~~~~~~ S 7 8 7 8 7 __ 9-6- 7 B 10 B 10-8-7 ~9 7 7 8 1()-1110 B . -. Where's the' J I. " 11~~ . 6. H. 2. [lie! The low A also acts as a drone.---.you're a better man than.EXAMPLE 2 INDIAN DRONE "'lARTY D0MONSTRATED THIS SOLO idea during "discussion "bout hi> Middle Easte r n musical inspirarfon." Preetlrne ".C.TRACKS 20-25 . and thls is particularly true in Indian [IlUS1c. 3-.4 like we do in rock'n'rott.g . so there are no rules when it comes to scale choice. "I guess I was originally influenced by sitar players.

..)~ ~.~03 .Exotic scales MARTY FRIEDMAN MASTERCLASS D~SPITE MARTY'S FREQUENT USE 01 umbiguous scales.. oscet.otherwise known as the Spanish Gl'PS).~ . - J----' S S S ~~~~8~~~~~'~~~~~7~~~~~~~~~~~~~~5'~~~~~~~~~~~~~~~~~~~~~~~ - . he is very fond of using uie flfLh mode of the harmonic minor . is particularly evident in Spanish music.~ ..-- ~r-- 38 GuihlrTIx:hniqul':': MAY. The penultimate bar highUghWl the rnajor/mlnor amblgutty thai. " . Preetjme OJ ~. scale.

PSII :":.= TRACKS 20-25 "PGOI'L0 ASK ME WHAT'S YOUR !.same scale for more than a second.te between major and minor.. Fh'SLof all I decide r donie W"." Here. so we're gQi.\-[an. E blues.'AVOURITE scale.y seamlessly combines 1"iI Rltusen. ~ '-----J~ .C. .. G Kurnoi and B phrygian scales.lnt to dlfferenti .'. li: major... of course i powerchords allo. 12 10 0 D 11 to t2 11 1D--11 10 11 1(> 12 11 _.2 to t2-4-7- r • -.ng in and out of major and minor. your favourite alphabet? I'm never really stuck in the.§~~~~~~ 9-10 11 eo 11 1 t-{l BU 2 10 t2 21---11 2)-t t}--(t != ~ Er--12 B H. .' you to do break out anywhere. I mean what'.. ~ f'- #~ b .t- MAY 2003 Guil~lrThchniqul':3 39 . Pay attention at the buck! Freetime " N.

as you don't want it to soundlike t an Oiympic e em. Freetlme N..1 Faster - 5 S S 2-4 24- a 8----18~___5 " 40 Guitllr'fu:lhniquBS MAY 2003 ." Many" silky smooth sound comes from Vf!fY minimal alremate picking.hey can have odd numbers. to connect idea" but I don't like I)\ayillg arpeggios straight UI)and down. 1\ " ~ S 11--9 11-9 ~ -3 '----3-. 50 a lot of the shapes are geared towards €COIlOIIlY picking and sweeps in a downward motion. us it sounds just.C. like an . but ill a normal cont xt.Exotic scales MARTY FRIEDMAN MASTERCLASS TRACKS 20-25 EXAMPLE 5 EXOTICARPEGGIOS "ARPEGGIOS Hie VER\' NIC!. Ag. Marty uses down picks when coming backwards through an arpeggio shape rather than sweep d-II]J picks.:'lin. TO US!. so a lot of legato and conorny picking is used Interestlngly. xercise.

pre- bending and so on. . lessons etc at. He has taught at the Whirligig Rockschonl in and Guildfcrd's ACM. or write to him at gt! Now all you Tokyo Joes can add some oriental spice to your playing with the Kumoi pentatonic scale! connection Japanese. Introduction' track: ~ leads you to rating info r"tina. His solo material features on the Legato compilation. GuitarOn in Acton. and was in Cliff Douse's Book of Guitar Players. though! meet .wide vibrato.d15 20·22 Guthrie Govan Japan to add some oriental spice to your playing 20.our !It tutor: guthrie govan • Having played guitar for 23 of his 26 years Guthrie Guitaristmagazine's featured Guitarist was Guitarist Of The Year in 1993. Ihexoro Technique' is sEJrprisingiyeasy to master. The Edg'~ Vol IV. Essex 5513 15R. moderate nuances . the Guitar Institute Chelmsford. . PO Box 1001.Irack info ".the . He can be contacted for sessions. Baslldcn.

I -------< I 811 I :/..ie each is scale..the first 16 bars of the transcription demonstrate typical fingerings for more 'Keto Iffecr. identical to the above: scale.l All four of these scales are pentatonic constructed using five notes. Finally. set to the front sounding touches to the way you play.. (NB You could view this as a stripped-down Lydian mode.. you're playing the same notes over the Gmaj7#11 (bars 9-12) as you were over the Em9( 13) in the preceding four bars. let's press 0]1._- l Em9(13) E KUMOI (3r~ MODE. In any key. Below is a chord chart for the demonstration piece on the 9tCD. a Lexicon MPXl was"t1:nlisted reverb. Thus..'already information in three categories: scale choice.. making it suitable for minor chord applications: 2 3 .. but starting original from the third note of the that as the root. the signal went intoa Palmer speaker simulator.. It sounds Like an old friend to most western listeners.geddit?) set as follows: gain 4 welty things treb 4 mid 2 bass 10 output 16 to provide a From there. E. For FI b3 G as: 6 Cl This can also be expressed I've named it the dominant (11) pentatonic to distinguish it from the more normal-sounding dominant pentatonic (1 2 3 5 Pl. then a tone again. I :/.rd mode of the Kumoi.. moving up another tone-and-ahalf should get you back to the root. I :/.-- . I think we can look at this pick-up fur the first l6 bars and then set to the sront anc middle Forthe rest oftlie tune. the Tones album) .. you might mode without want 10 think of this as a Dorian degrees. you can create a major pentatonic Two tones Tooe Tone and a half Tone Sernitone Note that the thi. To up a bit. In the key of E it looks like this: the fourth and seventh Our third scale is the third mode of the Kumoi. and phrasing. starting on G.vou the do far Tone Semitone Two tones ToneTone and a half [lf' you're familiar with the modes of the major worse than Ilstenlno to Eric Johnson's 'Bristol Shores' (from . guitar tone. Thus.7 A °1 Two tones "emllone Tone Tone enc a halfTone want to check the odd SColes his work with Jason Becker in the Cacophony duo).. but they have a different sound. but this scale bas been a staple of Chinese and Japanese traditional music for centuries. I thought it would be... of Tone TORe lone and a half lone Tone and a half The Kumoi pentatonic is. The major pentatonic is familiar to anyone who has ever soloed over a major chord by using the traditional minor pentatonic box-shape starting three frets below the root (eg playing blues licks over E major gives a 'country fee1').] The final scale 'idea has this formula: by starting on the root note and then moving up a tone.-- -------------. 'Big Studio' hord and scale chart E KUMOI .. then another tone. thus: scale and treating qm G which can also be described as: 3 G.. And so without further ado. more useful to 1001 at how you can incorporate some little Eastern- sound advice guthrie's gted gear For the CD lesson I used Phil's red Strat Plus. You're using the same pattern of tones and semi tones.25 ather than attempting a fully authentic Japanese compostuon. you can express the scale formula as: gt info the kOlo elfed the 'Source and listen to truckloads. contains the same note-Dames as the first mode starting on. except that it has a Flat third. This WdS JlJI1 a Marshall Studio 1:5 valve eernbo (aha! Marshaf Arts ..) Gmaj7~11 B DOMINANT (11} ~ENrAiONIC ... Note how a different scale has been assigned to each chord: R 9. this month.. :11 E MAJOR PENTATONIC Emaj9(13) II . and to suggest that it works well over dominant chords with a suspended fourth or an 11tho Confused? Don't be . then a tone-and-a-half..

the opposite of picking near the bridge. your pick should the B string at the be between the 12th Lh REMEMBER terms and signs are fully explained on page 81 • experiment starts with the way you bend notes until it to sound a bit more 'Oriental' . You don't need to play these scales with a clean tone. fast vibrato at the start of a note. ascending and descending in groups four) so you can "get a feel for what each pentatonic sounds like over its respective of guitar tone For the. but most of the markings are simply ways of ornamenting a fairly basic melody. quickly bending and relaxing the string just after picking it. each scale.. because you're picking over the fretboard. To get a feel for this. as a tltumb.. CD lesson. the transcription starts to look scarier. pre-bending notes. right.k()to This 13-stringed ~ instrument is tuned by mobile bridges and played with picks worn on the R/H index and middle fingers. but if you do.. you have the scope to use what Eric Johnson calls 'The Koto Effect'. I've opted \ chord.stnce the 17th century. ") '" ~ )~ I the japanese connection and 13t1tfrets for maximum effectIf you getit your reward ~s a distinctively thin. . simply to listen to the CD lesson and for a clean single- coil sound. and bending up to a scale note from a 'wrong' note a fret below reg half-way through bar 20). You can bear the effect in bars 17-34 of The koto has been regarded the demonstration piece . phrasing From bar 17. bright tone with something of a Japanese characteristic. each note as near as possible to the fretting hand . jargon buster .It's achieved by picking Japanese national instrument . If you're fretting 12th fret. Common touches include a wide. !II he Japanese connection E Major Pentatonic 621 gilitar technIques 1 march 1999 . Be careful here.

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