Re aa = TTF) DL Lae ae be PUD es U0 ‘ FeSO LORE a iE Aer eA a ¢ ee sy ea ieee, Soe ae ee chord progressions a a Ee DE eeiia Chords & Scales for Guitar hy Blake Neely and Jeff Schroed! VA HAL*LEONARD® N Copyeght © 1997 ty HAL LEONARD CORPORATION Inematonal Copyght Secures Al Fights Feservod ‘No part fs pubeaton may be reproduced in any frm of by any means wehou prc watn perision of the Publier.INTRODUCTION Why you bought this book... Hello again. We say “again” because we're assuming that you've already been through FastTrack Guitar 1 and 2. (At the very least, Book 1.) If so—terrificl You've decided to keep learning your instrument and you're ready for this supplemental book. This book provides five important thinge: \ A Basic guitar chord theory \ F( Easy-find index of over 1,400 different guitar chorde and voicings 2 - e (Basic scale and mode theory \ 4 Patterns for 8 scales and 7 modes 4 BY Special “Jam Session” using the chords and scales introduced IMPORTANT: This book is a reference book (much like a dictionary) and should not take the place of a guitar instruction book. That being Said, please go through FaetTrack Guitar 1 and 2 (or at least act like it, 60 we'll stop nagging). Remember, if your fingers hurt, take a break. Some of these chords and scales required some serious stretching. With practice and patience, you can learn them all (and avoid cramping). So, when you're ready, tune up, crack your knuckles, and let’s learn some chords and scales. ABOUT THE CD Glad you noticed the added bonus—a CD! Each of the tracks in the special “Jam Session” is included on the CD, s0 you can hear how it sounds and play along, Take a listen whenever you see this eymbol: <>PRIMER WHERE TO FIND THINGS What's a chord? Table of chord suffixes Building chords Table of intervals Everything's relative Bullding to scale Choosing the best voicing Fingerboard diagrams CHORDS no suffix m, min, — +, aug, (#5) sus4, sus (add9) m(add) 5, (no3) 6 m6, -6 6/9 m6/9 7, dom7 °7, dim7, dim Tous, Tous maj7, M7 m7, min7, -7 m(maj7) maj7(b5) m7(bS) +7, 705) 705) 709) 749) +79) 9 maj9, M9 m9, mind n mit, mint 13 major minor augmented suspended fourth added ninth minor added ninth fifth sixth minor sixth sixth, added ninth minor sixth, added ninth seventh diminished seventh seventh, suspended fourth major seventh minor seventh minor, major seventh major seventh, fiat fifth minor seventh, flat fifth augmented seventh seventh, flat fifth seventh, flat ninth seventh, sharp ninth augmented seventh, flat ninth ninth major ninth minor ninth eleventh minor eleventh thirteenth ©8VHOTGFARD B® 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 4 SCALES. Explanation of patterns Caged system Three-Notes-Per-String system Horizontal system Moveable Patterns Guitar Fretboard Chart Major scale Minor scale Harmonic minor scale Melodic minor scale Minor pentatonic scale Major pentatonic scale Blues scale Diminished scale MODES JAM SESSION Heavenly Ballad Medium Rock Wall of Fame Wild and Crazy Full Deck Shuffle Generic Pop Funky Feeling Don't Stop Smooth Jazz Overtime Nashville Dreamin’ Heavy Rock Alley Cat Fusion South of the Border Scare Us Swing It! Metal Mix Rock ‘n’ Roll Outta Here Sat & 45 46 47 48 49 50 51 52 53 54 55 56,57 59 60 60 60 60 61 6 6 a 6 61 62 62 62 62 62 63 63 63 63 63LET’S DIVE RIGHT IN What's a chord? A chord is defined as three or more notes played at the same time. Chords provide the harmony that supports the melody of a song. Sometimes chords are indicated by chord symbols, written (usually) above the musical staff. A chord symbol is simply an abbreviation for the name of that chord. For example, the symbol for an F-sharp minor seven chord would be FAm7. Get organized... A chord symbol tells us two things about the chord—root and type: 1. The root gives the chord ite name. For example, the root of a C chord is the note C. (Simple Simon!) Unlike trees, however, the root note is not always at the bottom of the chord. Notice the difference in these two types of C chords: a 4 eo 2 = oS C major with C on bottom C minor with G on bottom 2. The chord’s type is indicated by a suffix (m, 7, sus, majQ). There are lote of chord types and suffixes, but there's no need to panic—with a little practice, they're easy to recognize. This book groups all the chords by their type, so keep this list handy: Suffix Chord Type Suffix Chord Type no suffix major m7, min7, -7 minor seventh m,min,= minor | m(mal7),m(+7) minor, major seventh +, aug, (#5) augmented maj7(b5), maj7(-5) major seventh, flat fifth sus4, sus suspended fourth 765), m7(-5) minor seventh, flat fifth (add2) added ninth +7, 7(85) seventh, sharp fifth m(add®) minor added ninth 705), 1-5) seventh, flat fifth 5,(no3) fifth (ak.a. “power chord”) | 7(69), 7(-9) seventh, flat nirtth 6 sixth 789), 49 seventh, sharp ninth m6, -6 minor sixth | +709) seventh, sharp fifth, Rat nich 619 sixth, added ninth 9 ninth 6/9 minor sixth, added ninth maj, M2 major ninth 7, dom? seventh | m9, mind minor ninth °7, dim?, dim diminished seventh | elevertth Tous4, Tous seventh, suspended fourth |_mtl, minit minor eleventh maj7.M7 major eeventh 3 thirteenth Of course, you may run across other types of chords from time to time, but the ones listed above are the most common.BUILDING CHORDS (...and you don’t need a hammer!) Chords are built: from simple “building blocks” called intervals. An interval is the distance between any two notes. Here's a look at the basic intervals, using C as a root: Perfect: 6 —— eo 8 La Major M2 MB Notice that these intervals are divided into two groups—major (M) and perfect (P). EASY 10 REMEMBER: 4the, Sths, octaves and tithe are perfect; all other intervals are major. Everything's relative... Intervals come in many shapes and sizes, but in only five categories: major, minor, perfect, augmented and diminished. Here's how the categories are related ‘A major interval lowered ~ = ‘one half step equals a minor interval og bg = M3 ‘A major or perfect interval raised one half step equale an augmented interval A perfect interval lowered one half step equals a diminished interval, —— = An interval’s type is determined by the number of steps between the two notes. pe HELPFUL REMINDER: On your guitar (or anyone else's), from one fret to the next ‘equals one half step; two frete apart equale one whole step.Review the following chart and get to know all of the interval types... Interval ‘Atorodation Stepe Pitches _| Interval ‘Aterolation Steps Pitches unison unis nore ===] | major enh me ave mminor eecond m2 hat GS] | augmemtadsicht —auge 5 major second Me. _ rrinor eeventht m7 5 augmented second” aug2 a. major seventh M7 512 major third M3 2 6S trinor ninth m2 eve perfect fourth P4 202 = = | major ninth Mo 7 augmented fourth* aug4 3 fy I | augmented ninth aug 72 diminished fifth" — dim 3 perfect eleventh —PIt eve perfect fifth P65 Bue augmented eleventh augit 9 augmented fifth" aug 4 minor thirteenth — rnl& 102 minor sixth* m6 4 major thirteenth — MI 1 2 * NOTE: Ae with sharps and flats, some intervals may sound the same but be written two ways (for example, aug4 and dim5). Notes or intervals that sound the same but are written differently are called enharmonic equivalente. One step further. Building chords is easy—simply add intervals to the root. The type of intervals used determines the resulting chord type. Let's start by learning some basic three-note chords built on a C root: Major chords contain a ——————— M3 and a P5 on the root. £35 Minor chords contain a $= a m3 and a PS on the root. =i. — Once you're familiar with basic chord types, tons of other chords can be built simply by adding, subtracting, augmenting, or diminishing intervals.BUILDING TO SCALE The notes of a chord can also be determined by assigning a numeric formula, indicating the ‘tones used from the major scale. For example, based on the C major scale, 1-3-5 would mean play the root (C), a flatted third (Eb), and the fifth (G)—a C minor chordl The chart below is a construction summary of the chord types in this book (based on the key of C only): C MAJOR SCALE = C-D-E-F-G-A-B-C (12345671) Chord type Formula Note names Chord names major 13-5 CEG c minor 133-5 CEG cm augmented 1345 CE-GH Ce suspended fourth 14-5 Cee Cous4 added ninth 13-5-9 CE-G-D Caddo minor added ninth 143-5-9 C-Eb-6-0 Cm(addg) ‘Afth 15 co (oe) sixth 135-6 CE-G-A ce minor sixth 143-5-6 C-Eb-G-A cme sixth, added ninth 13-5-6-9 cere minor sixth, added rich cmere seventh co diminished seventh 7 seventh, suspended fourth CTeus4 major seventh Cmaj7 minor seventh 143-547 om7 minor, major seventh 143-5-7 cm(maj7) malor seventh, flat fifth 15-7 Cmaj705) minor seventh, flat fifth 1434547 cm7(65) augmented seventh 1-B-4547 cH? seventh, flat fifth 154547 C765) seventh, flat ninth 13-54749 C79) seventh, sharp ninth 1-3-54749 c7t9) augmented seventh, fat ninth — 1-3-45-47-49 C4709) ninth 13-547-9 co major ninth majo minor ninth como eleventh 1-3-547-9-1 cn minor eleventh 143-547-941 cmt thirteenth 1-3-547-9-41613 C-E-G-Bb-D-F-A as NOTE: Since the guitar has only six strings, certain notes must sometimes be left out. And UH sometimes certain other notes are “doubled” (played twice). In general, the fifth and root are the first two pitches omitted when necessary.CHOOSING THE BEST VOICING Each chord can have several different voicings. A voicing is the same chord but with a rearrangement of the notes (which means you'll also have to rearrange your hand and finger position). For each individual chord, this book gives you four voicings to choose from...you're welcome! Decisions, decisions... Although (in theory) you may use any of the four voicings in any situation, each group does suggest a specialized function. A chord’s location, difficulty, size, and Intended musical etyle all contribute to this determination. Here's how each of the four voicings were chosen and how they should be used: The top diagram is the most common upper position voicing. t's also the most appropriate for strumming purposes. This diagram always gives you a convenient“ setting, LOE Here you'll find another good “all-purpose” voicing, However, this voicing is often a broken set form, which means that the chord contains a lower bass note and two or three notes on higher strings with at least one “interior” string omitted. It works best in jazz or blues styles as a nice comping (another word for “accompanying") chord. purpose” voicing, usable in most any musical NOTE: Not all of the third voicings are shown as broken chords. For those that are, 0 though, pluck them with your fingers (rather than the pick) and simulate a piano-type sound. Be sure to “mute” the omitted strings. Closed voicings (or adjacent set chords) are used for the fourth group. These often appear “up the neck” and work great for jazz, blues and rock styles. Due to the lack of a lower bass note, these voicings produce a thinner, less-full sound. But this isn’t (necessarily) bad, especially when playing with another guitarist or a6 a complement to the bass player. Alright already! Don't get too bogged down with all thie “theory” stuff. Just look up the chorde you need ard learn to play them. Heck, make up your own chorde—if it sounds good, play itl If you come across a chord type Not listed in this book (and you will eventually), either bulld the chord with the intervals named in the suffix, or reduce It to a more common seventh or ninth chord,Just in case... Here’s a reminder of how to read the new markings on the fingerboard diagrams in this book: \ a i | ath Think of your left-hand fingers as 4 4 i 4 being numbered | through 4 | Xe above the grid tell you to avoid strumming that string, x © 4— 0s indicate an open string, Tee] <— A barre (pronounced like “bar”) zee is shown when a finger holds the eame time. Dote are the left-hand — fingeringe. Numbers below the strings tell you which finger to use on that string. NOTE: Fret numbers (“Sir”) may appear to the right of the first fret on some chord diagrams. This tells you to slide your hand up to the appropriate fret, position your fingers and strum away. If no fret number is shown (or you see a thick top line on the diagram), your hand should be around fret 1, near the nut.ee ae -raa8 rae veer Ton + tet cor L t ee Oe don ' [re | : L } rH nen a Direb E F were ae ras9 tass r983 raaa ra83 ra93 faeen roeen Baer riya Te4a Te4a 143 Raa 12Am Aém/B>m Cém/DbmAt Ab+/Bb+ Bt c+ C+ /Db+ D+Ree Asus4 Atsus4/Bbsus4 — Bous4 Ceus4 —Cheus4/Dbsus4 ~— Dsus4 toa Toes treeAladd9) — A¥(add9)/BH(add9) —_- B(add9) C(add9) Ci(add9)/D>(add9) D(adag) Diadd9\/Eh(addd) — E(add9) F(add9) a4 Spots Filadd@)/G(add9) G(add9) _G¥(add9)/Ar(add9) vote rast rastMIKE MN Am(add9) —Alm(add9)/B>m(add9) Bm(add9) Cm(add9) © Cim(add9)/Dhm(add9)- Dm(add9) Dtmm(adag)r Gm(add9) Gtm(add9)/Abm(adds)AS At6/Bb5 BS vias tree DIB/EDS ES FS FISIGS GS GEBIADS,AG AtG/B>6 cteiheBmé cme Chm6/Dbm6 Dmé Atm6/Bhmé Am6é Gtm6iArmo . atete P4184 Pas6 Gm6 Fm6é Fim6/G>mé rH vrais tole Em6 feet" Dimé/Emé AaC#/o/DbE/o Deo ; a ce : fe ma aoe STE oT Chea ee ath Powe rrr DIC/o/EbF/a ES Fela FHe/o/GbF/o Gia GEC/o/AbE lo aAméo Alm®/0/B>mS/o Bmea Cme/o Chm®/o/Dbme/o Dm®o TEo4 ayat ayaa T2368 frat pros Fm®o Fim2//G>m®/9 Gme%o GhmF/o/Abme/o rr t toe = ia rae «Eat rite Ete { 22AN7IBD7 B7 c7 C7107 b7 xo — ter 1 ore t ote { t L BEE Te ik} tT L7 feiss * + oe ett ave mise 4 [Tee : DE7/Eb7 E7 F7 FEZIGh7 G7 GETIAGT 23: _ oan b < 5 Ses a 5 PF seeres 3 Hy x 5 se > a 7 Fee = 2 AeeEE . fe > | PEE: eH g 5] Rect: Les S seotH = b b Ey i sa fa 8 al toy < Ss iS By / . . 6 cy He 7 a) ee feiatetale : = Eco 4 &A7sus4 —At7eus4/Bb7eus4 B7ous4. C7eus4 —Ci7eus4/D>76us4 — D7eus4 25Major Seventh Amaj7 —_Atmaj7/B>maj7 Bmaj7 Cmaj7 Chmaj7/Dbmaj7 Dmaj7 26reer Bm7 Cm7 Cim7/Dbm7 x90 a eels tt +t. seater ‘anna ae] eor cae ] tele . hh nsigee rr rte : ] Dim7/Ebm7 Em7 F¥m7/Gbm7 Gm7 Gim7/Abm7 Aro $ Stee f HH} HO Ta38 2 vars m4 TeTepees «© Teter «LW Te aoe Siepeor fe + + . . $ +t} t I roy or i eee 1428 1423 4MMe een 7 Am(maj7) —Akm(maj7)/Bhm(maj7) Bra(maj7) cm(maj7) Chm(maj7)/Obm(maj7) Dm maj7) Gm(maj7) Gtrn(maj7)/Abem(maj7) 28Amaj7(b5) — Atmaj7(b5)/Bhmaj75) — Bmaj7(b5). Cmaj7(b5) — Chmaj7(5)/Dbmaj7>5) Dmaj7(b5) x x a xe Dimaj7b5)/ebmaj7e5) Emaj7(b5) Fmaj7b5) Ftmaj7bAm7¢5) —_ Atm7(b5)/B>m7b5) — Bm7(b5) Cm705) — Clm7(b5)/D>m70b5)-—-— Dm7(b5) Dim7(b5)/Ebm7¢5) Em7(b5) Fm7(¢5) Gim7>5)/Am7¢5) ‘ tant He te | $ tae iy. = om aye Hepa en : Tata 1333 1312 +333 4333 1338C+7 CHT /D>+7 D+7 om t te Bir ie ol] +e i olor ay a BA te ¢ + + HHH t Tae renee reree a 4 oe arenas a cay 7 ot ¢ aan ‘of Tee + +e + ; I coor 1 ] ries rasa roped roges raee rasa — ere : tf DE+7/Eb+7 E+7 F+7 im tt ie oo + aad Ht Ht Th: Pea eT + i d SEI on + + * * { + . i Ce t i + Hie ew ® L Hh HAT riT8 pate ate 3A7(5) A¥7(b5)/B>7(65) B7(b5) C75) ct7b5)10>7(65) b7(b5) HE tlt Hs aad ras a) Ge + Corte TEeet ta84 ci +h” 1 t tHe a 123 3 3142 a fame Ha CoriT+ $ aad tt oH D7(b5)/E>70P5) E75) F7(65)/G>705) G78) GITb5)/AP705) ane aa Ft HORE 234 C WH 32c7b9) cinbayio7e9) Db 7(b9) A7(b9) A#7(69)/Bb7(69) B7(b9) ia cy Di7boyrer79) ee 1 324 13 e4A7(49) At7($9)/8>7(49) B7(#9) 79) cH7(#9)/0>7(49) p7(¢9) G79) Gt7(toAr7b9) oom Hae | prose Bt3A+769) —-At+7(69)/B+7(b9) — B+7(b9). C+769) C#+7(b9)/D>+7(9) _D+7(b9) con oor co imc 3KH tore 3 ete + + +H + tra trert toege «oto = ee ? cat * + ve ot 19 fet iy ¢ ite + * oe rt BH Hon hha rh ea Tey we ries exrr) im rere rears TST a] ew Ter or ey tole oes teste vote i i t Di+7(b9)/Eb+7¢9) E+7(b9) F+7(b9) —_FE+7(b9)/Gb+7(h9) x 290 a — ooo = + rors at ce ee 21 4 es [ee] on [$$] 0% tte ote I ie Coon wt Hoo fees He I Tiee$ he Ol] ae PB eve 4 = \ + ° eH re A 1953 Tore Bars pars 35zee ates Fo Pree FIQIGhO Go aan” «= el a — le ote 2543Amaj9 Atmaj9/Bbmaj9 Bmaj9 Haye ise EH Dimaj9/Ebmaj9_— Emaj Fmaj9 Fémaj9/G>maj9 _Gmaj9__Ghmaja/Abmaja + } . ° inca] HEH } B pet 4 cay noo oon rae vated ree rate 37Atm9/Bbm9 Bmo cma Cim9/D>mo _Dmo Tt OT? ie tT 5 CH co ee Fimg/Ghmo ST Toor Bon cite t Riss 38Eleventh Att ANB Bi cn ciDb11 Dit i oT oR | R t He +o Tite + ote 4 t +4414 9 TTF or aK}i > er: : I: csc: E mh + : > : f ee Eee: ° Fee $ EF : pe: Gee 2 RHE | pe a sl ots & 12 x s B : 5 eG FEE? GER i meet Hert § 2 ERrels E Fee: = E fee Peete: aries tee htals = "BRED? See | FERRER : E oe 4. : FA: CoH el = JAIS AH3/BM13, BIS CH3/Db13 DIS TE 2 aiey 2rasa areas | 10 DHB/EM3 E13 FIZ FHB/GHS G13 GHBIAMS, t rsh fot { vse 1284 ean tae4 Vea4 aSCALES Seale (from L. scala, ladder): A progression of notes in a specific order, Scales are very important to know, especially when it: comes to playing a solo. This section io an easy reference for constructing, locating and playing all the essential scales on your guitar. By the end of this section, you'll be using scales to improvise over the “Jam Session” on the CD. Essential ingredients... We've given you three ways to build (or “spell”) each scale: 1. Step Pattern This pattern telle you how many steps to move from one ecale tone to the next, using abbreviations for whole step (W), half step (H) and 1/2 steps (W+H). Simply start on any note and move up accordingly. (ex. WoH-W-W-H-W+H-H) Here's an example starting on the root note C: step pattern = W-W-H-W-W-W-H result = A-B-C#-D-E-FE-GH-A RAE cx. 1-253-4+-5-+46-47-8) Take the numbers in the formula (which correspond to a particular major scale tone) and alter them as indicated by the flats and/or sharps. Try this one... A formula = 1+-2-3-4-54647-8 result = A-B-C-D-E-F-G-A Amajor ecale = A-B-Ct-D-E-FA IMPORTANT: These formulas are always based on the major scale (including any sharps or Ug flats) not just the letter names of the notes. That is, 3 for the key of E major is actually G# (not G). So, if the formula calls for b3, play G (one half-step lower than Gt) not Gb. EAL ooo Although we don’t have room to show all the scales on all twelve root notes (actually seventeen if you count the enharmonicsl), the note names shown are relative to the root note used. Of course, a scale built on a different root note will have a different list of note names.wT Let's get organized... Several fretboard locations are given for each scale in this book. Use the one that feels the most comfortable for you. (Or, heck, memorize all of them!) errr The fingerings in this system generally apply the one-finger-per-fret rule, staying within a specific four-fret position. In some cases, you may have to reach out of position one fret above or below this basic position. (Try not to hurt yourself) Two moveable patterns are given for each scale other with its root on the fifth one with its root on the sixth string, the obring. (For more on moveable patterns, flip to page 46.) Three-Notes-Fer-String System These require a bit more of a stretch but generally span a full 2 1/2 octaves. Two moveable fingerings are given for each scale. Again, one with a sixth string root and one with a fifth string root, Horizontal System Depending on the scale, these are found as either sliding scales, or four-notes-per-string patterns. The fingerings in this system spread up to 16 frets (Ouch!), but they're handy in trying to connect distant areas of the fretboard or to smoothly tranefer from one position ‘to another. Like the caged and three-notes-per-string systems, two moveable patterns also accompany each scale in the horizontal system, Get in sync! Practicing scales requires both hands to work together in perfect synchronization. Strike each note clearly and precisely, making sure you pick and finger the note at exactly the same time. Remember to always use alternate picking (successive downstroke and upstroke attacks) to avoid excessive hand strain. PRACTICE TIP: Make sure you play each scale forward and then backward. And, as always, start out elow and gradually bulld up peed as you build up confidence.MOVEABLE PATTERNS All of the scale patterns given in this book are moveable—that is, they can be easily shifted up or down the fingerboard to accomodate any key or root note. To do thio, take note of the darkened root notes: © = root rate of scale - Fo-+—fofe] ae 5 bo: ¢ m>ooom You can use any of these root notes as a point of reference for moving patterns. However, the roots located on the fifth and sixth strings are usually the easiest places to start. S36} o- —O--05 ? OG root on fifth sering To play the scale pattern in any particular key, match one of the root notes to its respective note on the fingerboard. (For example, the key of C has a root note of C.) The rest of the pattern follows accordingly—it's as simple as shifting the shape. Check out the example below: Beginning Fret Moveable Major Scale Pattern (aos Resulting Scale fret fret 3 | fret 6 fret 12 | | | fret 10 i | F major ecale G major scale Bb major scale E major scalePicture this. Use the Guitar Fingerboard Chart below to help you quickly locate all the notes within the firet twelve frets. As de- scribed on the previous page, this chart will be especially useful a5 you begin using the moveable scale patterns in ‘the pages ahead. strINas fires ret > fifth fret > sich free > seventh fret eighth frets 3 tS inth fret That's about all J <—twelth fret --.good tuck!MAJOR The most common scale used in music is the major scale, so learn it welll It consists of eight consecutive notes ascending or descending. Step pattern: W-W-H-W-W-W-H major scale CO) ele a eae Formula: 1-2-3-4-5-6-7-1 & — = Notes: C-D-E-F~G-A-B-C IMPORTANT: Scale patterns played on the guitar cover all of the notes within a certain ua fretboard area. In other words, the notes in the scale are repeated in different octaves for @ more complete and practical fingering. meooam meooam meooam 48“pure minor,” This scale is used in nearly all styles of Western music. It's sometimes referred to as the “relative minor.” or “Aeolian mode.” Step pattern: W-H-W-W-H-W-W Formula: 1-2-3-4-56-471 Notes: C-D-Eb-F-G-Ab-Bb-C C natural minor scale Oe eG ec ob o be Caged System m>ooem50 HARMONIC MINOR This scale provides another alternative minor scale type and is very common in classical music. Step pattern: W-H-W-W-H-WsH-H CC harmonic minor scale oD & Fr a A Formula: 1-2-3-4-5-b6-7-8 4 : : c Notes: C-D-E>—F-G-Ab-B-C ~ (ez) m>ooam LCN m>ooam GER ee ell m>ooam m>ooomMELODIC MINOR This scale can also be used over minor chords and is commonly referred to as the “jazz minor” scale. Step pattern: W-H-W-W-W-W-H C melodic minor scale eB oF G c Formula: 1-2-b3-4-5-G-7-8 = Notes: C-D-Eb-F-G-A-B-C Pen eae) E € 8 = 8 sfo+—+ 6 © o © abo oft A ele S E — or pore] 8 © sf t+otet—tfo 5 ape}+—totx e S E 1 1 ope —popoy 5 _ S o 5 obo ot +$ 7 D . ot i = a Oo > > pt ele E = e 5 é 5 a = 552 MINOR PENTATONIC This is undeniably the most prevalent scale used by rock and blues players. As ite name suggests (“penta” means five), this scale contains only five different tones. 6 Formula: 13-42 Step pattern: W+H-W-W-WsH-W C minor pentatonic scale Sec Notes: C era © eo 5 5 & eho tet {= 3 of-3 5 t spe | E ° O75 ‘4 oF] 7 T 5 i * _ totors en 2 8 a | 4 é ° | 8 ot —Fs ! ATO eo I 4 é 81 |MAJOR PENTATONIC This is another S-tone (“pentatonic”) ocale common in many styles of music. It has a “bright” sound that especially lends itself well to county music. Step pattern: W-W-WsH-W-W+H C major pentatonic scale Dog ce Formula: 1-2-3-5-6-1 —— — Notes: C-D-E-G-A-C ° EyTZRNEouee ” . ane pal eee a) 8 oi—tof—t s Te - . | a — © i e sr} me ooom 53BLUES The blues scale is common in jazz, rock, and (you guessed itl) blues music. It contains an added blues note (b5) from the minor pentatonic scale but has only six tones. Step pattern: W+H-W-H-H-W+H-W C blues scale Formula: 13-45-5571 Notes: C-Eb-F-Gh-G-Bh-C (TRE e epopoy 7 7° 5 8 of S 6 5 3 3 | p A ;. ot c c 8 ict e 1 opo-po. ® t ° . i é D t O- Le {| oO} 4 elles > I i i Eo ° ‘O- if o +-o--o-+-o- : m>ooumi6 scale is popular in jazz and heavy metal music (turn it up!). NOTE: there really are eight: different tones in this scale. It's not a typo, Step pattern: W-H-W-H-W-H-W-H C diminished scale POM aos Formula: 1-2-+3-4+5-66-6-7-8 Notes: C-D-Eb-F-Gh—-Ar-A-B-C E . o e 8 of 8 6 6-|-o-} 6 D ofe{—t D a © - A e e e NERC ec Horizontal System ° 7 OF oS - O-} m>ooamMODES Modes are like scales—each uses a specific pattern of whole steps and half steps. The difference is that a mode is not related to the key of its root note. That is, a Dorian mode built on C is not in the key of C. The seven modes in common practice today are derived from the seven notes of the major scale: XAAMMRA Clonian = €C DEF GABC (cane an mao) wow “ow KAA AAAA DDorian = D EF GA BC D cow Rew EPhrygian = E FO 6A BC DE www wwe Flydan = F GA BC ODE F GMixolydian= G A BC DE F G Aheolian = A BC D E (Same as A natural minor) AAA Blocrian = BC D EF 6 A B ‘As you can see, each mode is actually a variation of the major scale. They differ only in the arrangement of the intervals. The next page gives you two usable patterns for each of the seven modes. 56lonian weoo| > Tn suggested scales: E minor, E minor pentatonic Em D c Em play 8 times, | zeeeri r477 \|r447\47774° | © GAR suggested scales: D minor, D minor pentatonic, D blues Dm AS C5 Dm play 8 times |i zee77|r7777 1 | > CE suggested scales: A minor pentatonic, A blues AS Ds E5 D5 play 8 times AB kz777\s4777 4° |0 MEE suggested ¢ lor pentatonic waa VIIL\ SLIT SLID LLLL LEE | E B A E Bo payStimes E ALIA \SLIL SILL STSL\ LITT STIL A © | oo suggested scales: C major, C major pentatoni Am G c |i rr77\77 v7 | on RCCL] blues, E minor pentatonic key 47 \77 fry? | (Ezy suggested scales: G major, G major G c Am |i -7747 | 474773 o © may major, F major pentatoni Bbmaj7 @m7 stines Fmaj7 Prey sbree | SIT 717742 | ¢ suggested scales: C blues, C minor pentatonic F ic play8 tines C krzrzee\ rere \s4744\ 4747474 6 | Don't stop there! Turn the page a> REL” suggested scales: C major pentatonic, C major Cc F AAA cara G py 4 times C | 47 44\4477 PLIDLLEL YE > | R i2gg Heavy Rock suggested scales: E Dorian, E minor penatonic Em D A Em > | play B cmos, |i 77747 \ 4477 ¢ Cia suggested scales: (first three measures): A minior, A minor pentatonic ‘suggested scales: (fourth measure): A harmonic minor Am G F E pity AA J | Am +i suggested scales: C Phrygian, C minor pentatonic cm7 Dbmaj7 com7 ki zr77 a | ©} Ee suggested scales: G blues, G minor, G minor pentatonic, G harmonic minor m7 Am75 079 Gm7 |i z4z77|r7777 1 >| 62+i suggested ecales: Bb Lydian, A minor pentatonic Bbmaj7s Am Gm Am Bimaj7s play 8 times kr~77elerer\sr477\ 474774 | +E iy suggested scales: C lonian, C major Dm7 G7 Cmaj7 kyree\ err |r \rr774 > zy euggested scales: Ft Acolian, FE minor pentatonic: Fim D E Fim play 8 times kz777 | 4477 go) Rock ’n’ Roll suggested scales: D major, D major pentatonic D Bm Em A play 8 Dyser\srrr\rrr\r47774 4 > Ri suggested scales: E Mixolydian, E major pentatonic E D A E play B times SII \ SITS Bravol You're ready for the big leagues... 6