Music Teory

8/16/2019 Music Teory

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Table of Contents:

1.0 - Introduction

1.1 - Where to start?

1.2 - The first 10 thing to learn

2.0 - What intervals and steps are

2.1 - Interval guide

2.2 - Steps

2.3 - Tones and semi-tones

3.0 - Understanding the hromatic scale

!.0 - The "a#or scale

!.1 - Triads

$.0 - The ircle of %ifths and &e' Signatures Introduction

$.1 - The ircle of %ifths

$.2 - &e' Signatures - (o) the' )or*

+.0 - hord onstruction

+.1 - ,tending

+.2 - ltering

+.3 - Suspended hords

+.! - Inversions

/.0 - The meaning of iatonic and )hat it does

/.1 - iatonic in chords

/.2 - iatonic in scales

/.3 - , and 4 eist

5.0 - %inding out )hat chords are in )hat *e'

6.0 - 7atural "inor8 (armonic "inor8 "elodic "inor scales Introduction6.1 - 7atural "inor Scale

6.2 - (armonic "inor Scale

6.3.0 - "elodic "inor scending

6.3.1 - "elodic "inor escending

6.! - What chords do these scales go )ith?

10.0 - The "odes of the "a#or scale Introduction

10.1 - Using the intervals

10.2 - Using the Steps10.3 - Using the modes over chords


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11.0 - ppl'ing 1-6 on the guitar Introduction

11.1 - ppl'ing What Intervals and Steps are

11.2 - ppl'ing Understanding the hromatic Scale

11.3 - ppl'ing The ma#or scale and Triads

11.! - ppl'ing 7atural "inor8 (armonic "inor and "elodic "inor Scales

11.$ - ppl'ing The "odes of the "a#or scale

1.0 - Introduction

So 'ou9ve seen people tal*ing their heads off a:out Lydian sharp 11

dominant 9 and 'ou have no idea )hat the'9re tal*ing a:out8 or ma':e 'ou9re

interested in starting to learn music theor'. Well8 it9s a great choice to come this

route8 as theor' can ma*e 'our music ecel to great heights8 and it lets 'ou

*no) )hat 'ou9re doing8 and )h'. I chose to learn music theor' :ecause I

)asn9t much of a song )riter and )anted m' music to sound good. ;lus8 on the

forums on this site8 I )ould visit "usicians Tal* and not *no) )hat )as going

on. So I9ve learned and flats =b> are. lso *eep in mind 'ou might

see parts from other lesson I have )ritten8 as I can cop' from them all I )ant8

:ut if I didn9t )rite the lesson8 I )ill lin* to it. (ave fun

1.1 - here to start!

Since I am an avid :eliever of not using steps8 ecept for the ma#or scale8 'ou

are going to have to learn )hat intervals are8 and )hat steps are. 4nce 'ou

have learned ho) to get the ma"or scale8 all the #98 and b )ill come into the

clear and :ecome understanda:le. The ma#or scale is the :asis of )hich prett'

much all chords and scales are derived from. If 'ou9ve ever heard 1 $ % or 1 &

b$ ' % b( b 1 'ou )ill *no) that those formulas are in relation to the ma#orscale.

1.& - The first 10 thin)s to learn

This is a list for eas' reference8 and ever'thing is eplained do)n the in this

article. 18 :eing the first thing to learn8 etc.

01. What Intervals and Steps are02. Understanding the hromatic Scale


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03. The ma#or scale

0!. The ircle of %ifths and &e' signatures.

0$. hord onstruction

0+. The meaning of iatonic and )hat it does

0/. %inding out )hat chords are in )hat *e'

05. 7atural "inor8 (armonic "inor and "elodic "inor Scales

06. The "odes of the "a#or scale

10. ppl'ing 1-6 on the guitar

I )ill go into each and ever' one of these so 'ou8 the :eginner can understand

them.

&.0 - hat Inter*als and +teps are

%irst8 I9ll start )ith intervals and steps8 as the' are critical in learning ho)

ever'thing )or*s8 and the' help 'ou understand the ma#or scale8 and almost

ever'thing on this list. nd interval is the space :et)een one note and another.

When 'ou see 1 & $ ' % ( 18 those are intervals. @earning intervals is ver'

important )hen learning ever'thing in this article8 :ecause I disli*e steps. I )ill

get into that more in the steps section.

&.1 - Inter*al )uide

This is an eas' reference chart to loo* at for naming intervals. This eample is

in the *e' of C8 for simplicit'8 :ut can :e applied to an' root note to find the

intervals of that *e'.

Interval A 7ame A 7ote.=In >

-----------------------------------------------

1 A Unison =root note> A :2 A "inor Second A :

2 A "a#or Second A

2 A ugmented Second A

:3 A "inor Third A ,:

3 A "a#or Third A ,

! A ;erfect %ourth A %

! A ugmented %ourth A %

:$ A iminished %ifth A B:

$ A ;erfect %ifth A B

$ A ugmented %ifth A B

:+ A "inor Sith A :


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+ A "a#or Sith A

+ A ugmented Sith A

::/ A iminished Seventh A ::

:/ A "inor Seventh A :

/ A "a#or Seventh A

5 A Unison =4ctave higher> A

:6 A "inor 7inth A :

6 A "a#or 7inth A

6 A ugmented 7inth A

-----------------------------------------------

etc.

The intervals repeat8 )here & C 98 $ C 108 ' C 118 etc. 7otice that 'ou9re adding to get the octave higher interval. %or those )ho don9t *no) )hat an octave isD

n octave is the same eact note onl' pla'ed higher. ,. middle C on a piano8

and the net C8 going higher are an octave apart. Eust li*e b9 is an octave

higher than b&.

When dealing )ith intervallic inversions =more on that later8 this needs to :e

said in the interval section> 'ou need to *no) a couple things. Fou have !

perfect intervals. ,nison8 ourth8 ifth8 and cta*e. perfect interval inverts

to a perfect interval8 and )hen 'ou ad the interval num:ers together8 'ou )ill

al)a's get 9. So if 'ou *no) a /' inverts to another perfect interval8 'ou *no)

=9-' %8 / inverts to /> so a /' inverts to a /%. Same thing )ith unison. Unison

inverts to the octave. The other intervals =&8 $8 (8 > are either minor or ma#or8

and a ma#or interval inverts to a minor one8 and vice versa. So )ith 'our

formula8 'ou can find that a minor third inverts to a ma#or sith =$ ( 9>. Then

an augmented interval inverts to a diminished interval. perfect interval goes

right to diminished )hen its flattened8 and all intervals go right to augmented

)hen sharpened. n inverted interval is the same as a normal interval :ut

instead of going up the chart =1-b&8 e> 'ou are going do)n. (ere9s a chart for

'our inversions.

;1 - ;5

m2 - "/

"2 - m/

m3 - "+

"3 - m+

;! - ;$

! - $

/ - 2


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; C ;erfect

m C "inor

" C "a#or

C iminished

C ugmented

Some intervals aren9t used as much as others8 :ut still eist. b10 is still an

accepta:le name8 :ut )ill more commonl' :e call #9. 9ths8 11ths8 and 1$ths

are used more often than their enharmonic =,nharmonic- Same noteG different

name> si:lings.

&.& - +teps2 &.$ - Tones and +emi-Tones

+teps. These are )hat man' :eginners use to form scales and the such8 :ut

here9s )hat I9m going to do. I9ll eplain the steps and sho) 'ou ho) to use

them8 :ut it9s up to 'ou )hether 'ou use steps or intervals. choice Steps can

identif' ho) far t)o notes are apart and the' can =if 'ou must> form scales.

There are t)o common t'pes of steps. )hole step and a half step. )hole

step =Indicated :' the letter > )hich is t)o frets. 3 - # is a )hole step. I9ve

seen people )ho thin* 3- is a )hole step. It is not. T)o frets This ma*es a

half step self eplanator'. It9s one fret. 3-8 G-G# and half steps apart. This )illall ma*e sense after reading the section #ust :elo)8 3.0- Understanding the

Chromatic scale. Hight no) steps might seem a little pointless :ut the' pla' a

:ig part in the net section.

Tones and semitones are the same as steps8 #ust )ith a different name. I use

steps throughout8 :ut 'ou can thin* of them as tones throughoutD

T C Tone C Whole step

S C Semitone C (alf Step

$.0 - ,nderstandin) the Chromatic +cale

The Chromatic is ver' simple and eas' to understand :ut it is important and it9s

ver' helpful to *no). It ma*es it a :reee to memorie the notes on the fret

:oard8 and #ust *no) notes in general. The hromatic scale is a series of 12

notes starting from an' note =doesn9t matter )hich one... Fou could use 4# for


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all I care> and going up :' half steps. ,. pla'ing an' open string8 and

preceding to pla' each note8 going up :' one fret each time )ill give 'ou a

chromatic scale. ut... There9s a catch 7ot ever' note has a sharpJflat :et)een

them. This applies to all the notes ecept :et)een 5 - C and 3 - . There is

nothing :et)een 5 - C and 3 - . Four chromatic scale =in C> isD

J: J,: , % %JB: B BJ: J:

Hemem:er the enharmonic notes 4# is enharmonic to 3b. It is indicated )ith a

6.

&no) it inside and out8 as 'ou should. Ker' important stuff. s short of a section

this ta*es8 it is #ust as important as the others.

'.0 - The 7a"or +cale

;ossi:le the most important thing here. ,ver'thing from chords to scales is

derived from the ma#or scale. Fou can even use the ma#or scale )hen soloing

and )riting8 as it9s a normal scale too. It9s #ust more important. The formula8 in

steps for the ma#or scale is 8 8. Fou appl' that in an' *e' =I9m

using C again> and 'ou get the ma#or scale.

, % B

W W ( W W W (

7otice ho) those notes fit right into the formula? @et9s tr' it )ith 3.

, % B ,

W W ( W W W (

ppl' that to an' note 'ou )ant to find its ma#or scale.

Fou must *no) this. "emorie the 88 ho)ever 'ou )ant8 and once

'ou *no) the ma#or scales =Wait for Circle f ifths8 it helps> ever'thing is

dramaticall' easier.

'.1 - Triads


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Triads are three note chords. I9m going to slip this in :efore chord construction

)hile 'ou9re hot of the press of the ma#or scale. I9ll also teach 'ou the )a' to

ma*e chords )ith intervals =as that ho) the'9re done>. There are ! t'pes of

triads. 7a"or 8 7inor 8 u)mented8 4iminished. The' are each different in

formation and sound different. %our different formulas... ,as' to remem:er8 o*?

"a#orD 1 3 $

"inorD 1 :3 $

ugmentedD 1 3 $

iminishedD 1 :3 :$

Major Triads are unaltered. Fou ta*e the first8 third and fifth notes of the ma#or

scale. The ma#or chord 'ou )ant =8 for eample> is the scale 'ou use. uses

ma"or scale8 C uses C ma"or scale8 etc... In C 'ou have C 3 G8 in 'ou have

C8 and so on. nother )a' to sa' this is oot8 7a"or Third8 and /erfect

ifth.

Minor Triads are li*e the ma#or triads8 in that 'ou do the same thing to formthem ecept 'ou lo)er the third :' one half step. In 'ou get ,: B8 , is , B

8 and so on. nother )a' to sa' it is oot8 7inor Third8 and /erfect ifth.

Augmented Triads follo) the same rule for creating them. Fou al)a's use the

ma#or scale to ma*e chords. l)a's. Same as the ma#or triad8 :ut 'ou9re raising

the fifth :' a half step. In C8 C 3 G#8 is C# 3#. ugmented Triads can :e

said as oot8 7a"or Third8 and u)mented ifth. ugmented triads are

stac*ed ma#or thirds.

Diminished Triads8 li*e all the other ones are :ased off the ma#or scale. Fou

are lo)ering the third 7 the fifth in the formula. In C it is C 3b Gb8 is C

3b. iminished Triads are oot8 7inor Third8 and 4iminished ifth.

Hemem:er ho) I said ugmented Triads )ere stac*ed ma#or thirds? Well8

diminished triads are stac*ed minor thirds. This *no)ledge )ill come in hand'

in the chord construction section.

%.0 - The Circle of ifths and ;ey +i)natures Introduction


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The Circle of ifths =Short form - Co%> is a tool to help 'ou )ith ma#or scales

and &e' Signatures. In this section I9ll sho) 'ou the Co%8 ho) it )or*s8 the

actual circle8 and I9ll move on to *e' signatures8 eplaining )hat the' are and

)hat the' do. The Co% is a must *no) for all theor' :eginners :ecause it helps

'ou identif' ma#or scales8 and it :ecomes eas' to pla' in *e'.

%.1 - The Circle of ifths

The Co =or Co%> is 'our tool to find )hat notes are in )hat *e'. This is ver'

useful to me and man' other people8 :ut if 'ou don9t )ant to use it8 and can

remem:er all the ma#or scales another )a'8 that9s fine. s long as 'ou *no) the

info it9s all good. s 'ou move cloc*)ise from C8 'ou go up a fifth. This is the

Circle of ifthsD

7otice ho) G is a perfect fifth from C8 5 is from 38 etc... Fou don9t reall' have to

memorie this :ut it does help. If 'ou can picture a fifth interval in 'our head

=thin* po)er chords> then this isn9t hard to memorie at all.

Starting at the top8 at there are no sharps or flats. s 'ou turn cloc*)ise =To

G> 'ou add 1 sharp to the *e' signature8 until 'ou get to #. Same )ith going to

. Fou add one flat to the *e' signature. (o) do 'ou *no) )hat sharp or flat to

add? Well8 here is the orderD


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SharpsD % B ,

%latsD , B %

Sharps to the left8 and flats to the right. So if )e *no) 4 has t)o sharps8 then)e loo* at the line here. # and C# are the sharps in the *e' of 4. 7o) ta*e 3b.

We *no) from the o$ that it has 3 flats8 and the line tells us the first 3 flats are

58 3 and . So )e *no) 3b had 5b8 3b8 and b in it. This is )hat helps 'ou

)ill the ma#or scales. Since )e *no) 4 has # and C#8 )e then *no) 4 ma"or

scale is 4 3 # G 5 C# 4. In 3b8 )e *no) it )ould :e 3b G b 5b C 4 3b.

Fou can do this for ever' *e'. Ta*e an' note off there8 find ho) man' flats or

sharps it has8 then loo* at the line to see )hat flats or sharps it has. That )a'

'ou can find the ma#or scale of an' *e'.

The *e' )ith the most sharps in its *e' signature is C#. %or flats8 it9s Cb. 7otice

ho) those scales are directl' opposite each other in the o%. @i*e)ise8 the

scales )ith one sharpJflat8 G and 8 are opposite each other. The same applies

to 4 and 5b.

nother interesting aspect of the o% is that the notes the furthest apart are

al)a's a tritone apart. C is a tritone a)a' from Gb and #8 4b and C# are a

tritone a)a' from G8 etc. This relationship should reinforce the concept that a

tritone is right in the middle of the octave.

What a:out minor *e's 'ou as*? (ere9s a simple tric*D @oo* at the a:ove

picture of the circle of fifths side )a's8 starting from . is the relative minor to

C.

Same rules appl'. 4m has 1 flat8 and it is 58 so )e *no) 4m scale is 4 3 G

5b C 4. "ore on minor scales later.

%.& - ;ey +i)natures. 8o< They or=

&e' signatures ma*e reading music much easier8 and the' tell )hat *e' the

song is in. &e' signatures help )hen composing pieces also.

In 'our *e' signature sa' 'ou have a 5b8 and an 3b. %rom o$ 'ou *no) that9s

the *e' of 5b ma"or . ll notes throughout the piece that are 5 and 3 are to :e

pla'ed as 5b and 3b. This ma*es )riting music easier8 so 'ou don9t have to use

so man' accidentals =accidentals - sharps and flats>. Fou )on9t find *e'

signatures so much on conventional T8 :ut on sheet music and ;o)er Ta:s8and even Buitar 4ne transcriptions there are *e' signatures. So8 )ith 'our 5b


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and 3b in the *e' signature8 all 59s and 39s are to :e pla'ed as : and ,:

throughout8 unless there is a natural sign = > =Boogle the natural sign - I can9t

t'pe it>.

With o$8 'ou *no) )hat flats are in )hat *e' signature. (ere9s a list8 )ith :oth

sharps and flats8 for eas' reference.

ma#orD 7o flatsJsharps

B ma#orD %

ma#orD %

ma#orD % B

, ma#orD % B

ma#orD % B

% ma#orD % B , ma#orD % B ,

LLLLLLLLLLLLLLLLLLLLLLLLLLLLL

ma#orD 7o flatsJsharps

% ma#orD :

: ma#orD : ,:

,: ma#orD : ,: :

: ma#orD : ,: : :

: ma#orD : ,: : : B:

B: ma#orD : ,: : : B: :

: ma#orD : ,: : : B: : %:

(.0 - Chord Construction

(ere9s ho) 'ou ma*e chords. hord construction is ver' important is 'ou9ve

ever )anted to ma*e a chord8 or learn more chords and not *no)n ho). @et9s

get right into it. Since 'ou alread' *no) 'our ! triadsD

"a#or - 1 3 $

"inor - 1 :3 $

ugmented - 1 3 $

iminished - 1 :3 :$


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That9s great. ecause that is the :eginning of chord construction. Fou alread'

*no) the :asics of it8 :ut I9ll teach 'ou ho) to alter them and etend them to get

the chords 'ou )ant for 'our o)n pla'ing.

(.1 - 3>tendin)

This ho) 'ou can ma*e other chords that are different from 'our triads. ll 'ou

reall' do is etend 'our triads in this section8 and then )e9ll alter them in the

net section. I9ll give 'ou some formulas for etended chords here.

M/ =dominant /th>D 1 3 $ :/

ma#/ =ma#or /th> D 1 3 $ /

m/ =minor /th> D 1 :3 $ :/

Those are 'our 3 most common etensions8 and the' can go even farther8 :ut

hers some eamples.

/ D , B :

ma#/D , B

m/ D ,: B :

7o) )e can etend those to 98 118 and 1$. Fou must have a th de)ree in the

scale to call it ?ma"98 or ?118 :ecause the th tone is )hat supports the

further etensions. Without the th de)ree =b8 or > 'our 98 118 or 1$ de)rees

:ecome an add chord... dd chords eplained in the net section

M6 D 1 3 $ :/ 6

M11D 1 3 $ :/ =6> 11

M13D 1 3 $ :/ =6> =11> 13

The num:ers in :rac*ets represent the optional notes. Fou can still have G1$

)ithout the 9 and 11. lso8 ever' chord )here the fifth is unaltered8 or needed8 it

can :e omitted.


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Mma#6 D 1 3 $ / 6

Mma#11D 1 3 $ / =6> 11

Mma#13D 1 3 $ / =6> =11> 13

Mm6 D 1 :3 $ :/ 6

Mm11D 1 :3 $ :/ =6> 11

Mm13D 1 :3 $ :/ =6> =11> 13

What a:out the diminished and augmented triads? an 'ou etend them too?

Fes.

M/ = C dim>D 1 :3 :$ ::/.

These notes are all a minor third a)a' from each other8 until 'ou etend more.

M6 D 1 :3 :$ ::/ 6

M11D 1 :3 :$ ::/ =6> 11

M13D 1 :3 :$ ::/ =6> =11> 13

MN/ =N C aug>D 1 3 $ :/

MN6 D 1 3 $ :/ 6

MN11 D 1 3 $ :/ =6> 11

MN13 D 1 3 $ :/ =6> =11> 13

Hemem:er8 those are all in relation to the ma#or scale8 and the 9 is enharmonic

to the &8 etc... The' don9t have to :e an octave higher8 :ecause 'ou shouldn9t

name a chord ?@add&A :ecause the 2nd is :etter named as a 98 ma*ing ?9.

(.& - lterin)

This is ho) 'ou can ma*e 'our chords suit 'our needs8 and also in this section

as )ell as altering8 I9ll sho) 'ou some other etended chords that could :e

considered altered. "ost alterations eplain themselves. If the name sa's

3mb%8 then 'ou *no) it9s an 3m8 )ith a b%. The construction for that )ould

:e 1 b$ b% b. Some common alterations 'ou9ll see areD

:$$


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:+

:6

6

11

:13

With those 'ou can produce chords li*e 3#98 ma"@#11A8 Cma"#%8 5m@b9A8

etc... ut remem:er if 'our alteration is a b%8 'our formula changes to 1 3 :$8

not 1 3 $ :$. Some not so common chords that can still sound good.

?m6ma" =a*a mJ78 its minor Jma"or se*enth. minor triad )ith ma"or

se*enth> 1 b$ %

?mb% =It loo*s altered8 and it is8 :ut its :est name is ?half diminished8 or B> 1

b$ b% b.

Use alterations as 'ou please8 :ut remem:er8 the'9re pro:a:l' going to put 'ou

out of *e'.

nother part in altering - add chords. When 'ou see Cadd9 or C@9A that is an

add chord. 7ot to :e confused )ith a dominant chord8 the note is in =:rac*ets>.

Fou can addD

2...6!..11

+..13

The' are enharmonic8 remem:er

(.$ - +uspended Chords

+uspended chords are neither minor nor ma#or. Suspended means 'ou ta*e

the $rd out and replace it )ith a &nd or a 'th. There are 3 common t'pes of

suspended chordsD

Msus2 D 1 2 $

Msus! D 1 ! $

Msus =a*a M/sus!>D 1 ! $ :/

Fou can do cra' things8 li*e ?9sus'8 )hich )ould leave 'ou )ith 1 & ' % b 98


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:ut 'ou have to use common sense to figure those out. C9sus' can also :e

named as Gm11. The name 'ou choose )ill depend on the contet the chord is

used in. 7ot much to sa' a:out these8 :ut remem:er the' are chords too8 #ust

the' aren9t minor8 or ma#or.

(.' - In*ersions

Inversions are slighter harder than )hat )e9ve :een doing8 :ut are eas' to

remem:er. Inversion means that 'ou don9t use the root8 or the 1 as the :ass

note of the chord. %or instance C63 can :e la:elled differentl'.

When )or*ing )ith inversions its good to *no) the intervals of the chords

alread'. irst In*ersion is )hen the $rd of the chord is the :ass note. C8 )ith

the :ase note , =or C63> can :e called C8 in the first inversion. When the $th

tone is the :ass note8 )e have a second inversion. C6G is C in the second

inversion. When the th tone is the :ass note8 )e have a third inversion. Buess

)hat happens )hen the 9th tone is the :ass note? %ourth inversion.

=first inversion>D , B

=2nd inversion> D B ,

/ =3rd inversion> D : , B

etc.

.0 - The 7eanin) of 4iatonic and hat It 4oes

4iatonic means that in a tone scale8 such as the ma#or scale8 'ou use each

note =-G8 )ith a sharp or flat> onl' once. That9s )h' 'ou don9t see C ma"or

scale as C 4 b G 5 5#. iatonic also means 'ou follo) the formula. In a

chord the formula is 1 b$ b% bb. The tones =in C> are C 3b Gb 5bb. That is

diatonic. Fou don9t have C 4# # 8 :ecause that doesn9t follo) the formula.

Sure8 it has the same sound and 'ou can9t tell the difference )ithout *no)ing8

:ut it helps 'ou organie tones8 and help 'ou figure out a chord or a scale

)ithout having much trou:le.

.1 - 4iatonic in Chords

s eplained a:ove8 diatonic formulas appl' to chords. If it sa's 1 $ %8 then'ou9re using the 18 $ and the %8 not the 18 $ and the bb(. hords are given


15/41

specific formulas for a reason So use 9em. It9ll help 'ou out do)n the road and

organie 'our thoughts.

.& - 4iatonic in +cales

Fes It9s ever')here Fou loo* at the scale formula =gain8 the formula is there

for a reason>8 sa' its 1 b$ #% b =random> then 'ou have =in C> C 3b G# 5b8

not C 4# G# #8 or an' of the li*e. There for a reason. Using diatonic in scales

is ver' important )hen tr'ing to ma*e 'our o)n scales8 and finding out )hat

one is. s 'ou can tell from this section8 I9m a fan of diatonic stuff. Fou should :e

too

.$ - 3# and 5# 4o 3>istD

9mon8 'ou couldn9t have though the' didn9t eist. The' are perfectl' valid

notes8 and are common place in scales. When 'ou )ere reading the o$ part

and )ondered )hat I )as doing )ith the 3# and 5#... Well8 the' are used for

diatonic purposes. Ta*e the C# ma"or scale for eampleD C# 4# 3# # G# #

5# C#. Fou can9t put C# 4# # G# # C C#8 :ecause it is not diatonic

E.0 - indin) ut hat Chords re in hat ;ey

This lesson is all a:out finding out )hat chords fit into )hat *e'. In this lesson

the author =Silenteftone> tells 'ou that finding the diatonic triads in each *e'

)ill tell )hat chords are in )hat *e'. This is true8 :ut I9m going to epand on

diatonic here. iatonic can also mean that a specific piece fits into one *e'

eactl'. ,ample8 a song that uses the notes # G 3 C fits diatonicall' into

the *e' of 3m8 or G ma"or . Head through that lesson as it eplains this section

to a great etent8 :ut since I actuall' have to do something8 here is a list of

universal formulas for chords and etensions. This is )hat 'ou get if 'ou go

through that lesson all the )a'. In the *e' of CD

ma#/

m/

,m/

%ma#/

B/

m/

m/:$

http://www.ultimate-guitar.com/lessons/chords/what_chords_are_in_what_key_and_why.htmlhttp://profile.ultimate-guitar.com/SilentDeftonehttp://www.ultimate-guitar.com/lessons/chords/what_chords_are_in_what_key_and_why.htmlhttp://profile.ultimate-guitar.com/SilentDeftone


16/41

nd :e'ond...

ma#6

m6,m/=:6>

%ma#6

B6

m6

m/=:$8 :6>

%urtherD

ma#11

m11

,m11=:6>

%ma#6=11>

B11

m11

m11=:$8 :6>

nd to 1$ths

ma#13

m13

,m11=:68 :13>

%ma#13=11>

B13

m13

m11=:$8 :68 :13>

9.0 - Fatural 7inor2 8armonic 7inor2 7elodic 7inor +cales Introduction

These ne) scales are all minor scales. The' sound different from the ma#or

scale that 'ou alread' *no) in that the' have a minor tonalit'. The' sound

dar*er and can :e used in more of a roc* contet. The natural minor scale is the

most commonl' used in roc*8 etc. and is pro:a:l' the easiest to pla'. (armonicminor is m' personal favourite scale and is rather different. It can sound


17/41

classical8 eastern8 or )hatever. n) is even *no)n to use this scale a lot. "elodic minor is the least

common from )hat I9ve seen8 :ut it is still a)esome. It can :e used in #a8 or

even in place of the ma#or scale8 for a little dissonance.

9.1 - Fatural 7inor +cale

This scale is more commonl' called the minor scale :ut I find it helpful to call

it the natural minor scale8 :ecause some)here in histor' )a' :ac*8 minor

could mean an' of the 3 minor scales here... or something li*e that.

The formula for the minor scale is 1 & b$ ' % b( b 1. The formulas for scales

are the same as chords as chords8 in the )a' that the' are compared to the

ma#or scale. If 1 & $ ' % ( 1 is the ma#or scale8 )ithout an' alterations8 then 1

& b$ ' % b( b 1 has a lo)ered $rd =,ver' minor scale has a b$. Thats )hat

ma*es it minor>8 sith and seventh. So 'ou can appl' this formula to an' *e'...

I9ll use C for eample.

ma#orD , % B

IntervalsD 1 2 3 ! $ + / 1

minorD ,: % B : : IntervalsD 1 2 :3 ! $ :+ :/ 1

See the pattern? ppl' that to an' *e' 'ou )ant In 8 for eample.

ma#orD , % B

IntervalsD 1 2 3 ! $ + / 1

minorD , % B IntervalsD 1 2 :3 ! $ :+ :/ 1

n' ma#or scale 'ou appl' that to )ill get 'ou the minor scale =for that *e'>. %or

'ou step loving people8 here9s the minor scale in steps.

W ( W W ( W W

In D


18/41

, % B

W ( W W ( W W

etc.

9.& - 8armonic 7inor +cale

This is m' personal favourite scale. It has a classical vi:e a:out it8 and can

sound ver' eastern. It all depends on ho) 'ou use it. Hemem:er8 'ou don9t use

an'thing until 'ou *no) all this There is a specific section for appl'ing these

ideas to guitar

(ere9s 'our (armonic minor formulaD 1 & b$ ' % b( 1. 7ot ver' different from

the natural minor is it? 4nl' the th is :rought :ac* up to a ma#or seventh8 from

a minor one. The b( - is a ver' cool interval. It gives 'ou a nice eastern vi:e8

and in the steps )atch out ppl'ing it to CD

ma#orD , % B

IntervalsD 1 2 3 ! $ + / 1

(arm. "inorD ,: % B :

IntervalsD 1 2 :3 ! $ :+ / 1

' no)8 'ou9re not completel' ne) to theor'8 so 'ou can appl' it to an' ma#or

scale 'ou )ant8 and do it for 'ourself. Fou learn much :etter )hen 'ou see the

results for 'ourself. %or steps8 I have to introduce a ne) step It9s the W( step.

It9s a )hole step 7 a half step. 4r a )hole half step

(armonic "inorD W ( W W ( W( (

,: % B :

W ( W W ( W( (

;la' around )ith that. See ho) 'ou li*e it.

9.$.0 - 7elodic 7inor - scendin)


19/41

The melodic minor is reall' t)o scales. The reason - I don9t *no)... I thin* I

might have at one time. nother thing to do )ith ancient times8 and the such.

This is the ascending version. 7et section =I9ve made them su: sections8 if 'ou

notices I put an etra num:er for the ta:le of contents Dp> is the descending

melodic minor. The melodic minor isn9t al)a's melodic. Fou can ma*e it sound

horri:le8 :ut it9s at 'our o)n disposal. Fou melodic minor formulaD 1 & b$ ' % (

1. Ker' simple one here... Eust lo)er the third.

ma#or D , % B

IntervalsD 1 2 3 ! $ + / 1

"el. "inorD ,: % B

Intervals D 1 2 :3 ! $ + / 1

This scale is rather simple. nd no) on to the descending melodic minor (ere

are 'our stepsD 8 8.

9.$.1 - 7elodic 7inor - 4escendin)

I9ll cut right to chase here. %ormulaD 1 & b$ ' % b( b 1. @oo* familiar eh? Well8

that9s :ecause it is. The descending "elodic minor is the same as the natural

minor scale. This acts as a leading tone8 #ust going do)n. Wh' this )as done

re


20/41

ma#orD , % B

IntervalsD 1 2 3 ! $ + / 1

esc. "el. "inorD ,: % B : :

IntervalsD 1 2 :3 ! $ :+ :/ 1

Four step formulaD 8 8

9.' - hat Chords 4o These +cales Go ith!

It9s al)a's nice to *no) )hat goes )ith )hat8 isn9t it? 7atural minor goes )ith

some normal chords8 :ut the melodic and harmonic minor fit into some different

ones.

Natural Minor D minor 8 m8 m98 m118 m11@b1$A. It fits )ell into minor chord

progressions and )or*s in almost an' st'le of music. Fou9ll find this scale

mostl' in metal8 roc*8 and it fits over po)er chords in a roc*Jmetal song. ,.

using each root9s minor scale in a G% 4% 3% % progression )or*s in a roc*

scenario.

Harmonic Minor D this can go )ith m6ma" chords8 :ecause of the b$ and

ma"or th. This doesn9t


21/41

help 'ou do)n the road )hen 'ou )ant to find the modes of other scales8 li*e

the harmonic minor8 or melodic minor.

10.1 - ,sin) the Inter*als

(ere9s ho) )e go )ith the intervals. I of course recommend this method8 :ut do

)hat suits 'ou :etter8 and remem:er 'ou can al)a's change 'our mind and

come :ac* to the other )a'. mode is #ust an alteration of a ma#or scale. (ere

are the names of all / modes8 and the formulas for themD

Ionian - 1 2 3 ! $ + / 1

orian - 1 2 :3 ! $ + :/ 1

;hr'gian - 1 :2 :3 ! $ :+ :/ 1

@'dian - 1 2 3 ! $ + / 1

"iol'dian - 1 2 3 ! $ + :/ 1

eolian - 1 2 :3 ! $ :+ :/ 1

@ocrian - 1 :2 :3 ! :$ :+ :/ 1

Wondering )here those intervals came from? Well after 'ou )or* them out8 the

notes correspond to the intervals8 as the formulas suggest. Ta*e orian mode.

In C8 it is C 4 3b G 5b C. If 'ou loo* at the intervals :et)een the notesD

,: % B :

1-21 - :3

1 - !

1 - $

etc.

Fou remem:er ho) to get the scales8 so 'ou can use C as 'our eample.

Ionian - C 4 3 G 5 C. Ionian mode is also the ma#or scale. There9s

one mode 'ou *no) alread' ;ronounce =,F,-4W7-,,-I7>


22/41

Dorian - C 4 3b G 5b C. orian mode is ver' good for #a8 and is a

minor mode. ;ronounce =4H,-,,-I7>

hr!gian - C 4b 3b G b 5b C. ;hr'gian is rather Spanish sounding

and is a minor mode. ;ronounce =%HIE-,,-I7>

"!dian - C 4 3 # G 5 C. This is the closest mode to the ma#or scale8

it is a ma#or mode. ;ronounce =@I-,,-I7>

Mi#ol!dian - C 4 3 G 5b C. This on is also close to the ma#or scale8

*ind of :lues'8 and is a ma#or mode. ;ronounce ="IO-4-@I-,,-I7>

Aeolian - C 4 3b G b 5b C. lso *no)n as the minor scale =natural>.

T)o modes 'ou *no) ;ronounce =,(-4-@,,-I7>

"ocrian - C 4b 3b Gb b 5b C. Ker' dar* and evil sounding8 this is a

I"I7IS(, scale. ;ronounce =@4W-H,,-I7>

10.& - ,sin) the +teps

(ere9s ho) the steps )or*D See if 'ou can find the pattern.

W W ( W W W ( W W ( W W W ( W W ( W W W ( W W ( W W W (

IonianD W W ( W W W (

orianD W ( W W W ( W

;hr'gianD ( W W W ( W W

@'dianD W W W ( W W (

"iol'dianD W W ( W W ( W

eolianD W ( W W ( W W

@ocrianD ( W W ( W W W

Those are 'our step formulas. Eust ta*e the first step and thro) it on the end.

The long one at the top is the ma#or scale repeated. Fou can thin* of a mode as

pla'ing a scale starting on a different note.

, % B

W W ( W W W (

,: % B :

W ( W W W ( W


23/41

: ,: % B : :

( W W W ( W W

, % B

W W W ( W W (

, % B :

W W ( W W ( W

,: % B : :

W ( W W ( W W

: ,: % B: : :

( W W ( W W W

10.$ - ,sin) the 7odes *er Chords

Ionian - Ionian mode is #ust the name for the ma#or scale. It has no

alterations made to it. ;la' this mode over 7a"or chords8 7a"8 7a"(.

4orian - orian mode has a flattened third and seventh =b$ and b>

ma*ing it ideal for m chords. Fou can also use orian mode for m(

chords. orian mode is often used in #a st'les.

/hry)ian - ;hr'gian mode has a lo)ered second8 third8 sith8 and

seventh. ;hr'gian has a Spanish feel to it so 'ou can pla' it over

Spanish progressions or heav' metalJroc* riffs )ith a b&.

Lydian - @'dian mode9s onl' alteration is a raised fourth =#'> ma*ing it

ver' close to the ma#or scale. The #' ma*es it a good chord to use for

7a"#11 chords8 :ut can also :e used over ma" chords.

7i>olydian - The onl' alteration in "iol'dian mode is the lo)ered

seventh =b>. This ma*es it perfect for dominant th chords. This modecan :e used in :lues8 #a or even countr'.

eolian - eolian mode8 a.*.a. the minor scale has a b$8 b( and b. =ll

minor scales have a b$>. eolian mode )or*s over minor chords8 and

can :e used as a su:stitute for orian mode8 :' using it over m

chords.

@ocrian - @ocrian mode has a b&8 b$8 b%8 b( and b. @ocrian mode is

ver' dar* sounding. It fits a mb% chord perfectl'.


24/41

A-----/-10--10-/------5-A-=5>--5------------5---------A-------5-10-----------A

A---5------------5h10---A--------10-----------10------A-5--10------10-5s+--$-A

A-6---------------------A-----------10-6-/-------10-6-A----------------------A

A-----------------------A-----------------------------A----------------------A

A-----------------------A-----------------------------A----------------------A

A-----------------------A-----------------------------A----------------------A

A---5-/-$---5-/---5-/-A---5-/-10:12----A

A-+-------+-----+-----A-+--------------A

A---------------------A----------------A

A---------------------A----------------A

A---------------------A----------------A

A---------------------A----------------A

A-10-5-/-10-5-/----------------------------------------------A

A---------------10-5----10-5---------------------------------A

A--------------------10------10-6-/----6-/-------------------A

A-----------------------------------10-----10-6-/----6-/-----A

A-------------------------------------------------10-----10--A

A------------------------------------------------------------A

A-----------------------------------------------/-5-10-5----A

A------------------------------------------5-10-------------A

A-----------------------------------/-6-10------------------A

A----------------------------/-6-10-------------------------A

A-5-/----5-/----------/-5-10--------------------------------A

A-----10-----10-5-/-5---------------------------------------A

That9s :uilt completel' off the C ma"or scale and triads8 in the *e' of C. Foucan even repeat it

11.0 - pplyin) #1-9 on the Guitar Introduction

This is the section )here 'ou appl' all 'our ne) *no)ledge to the guitar. I9ll put

in ever'thing that I feel needs to :e applied. The ones :eing left out areD ircle

4f %ifths8 The meaning of diatonic8 and finding )hat chords are in )hat *e'.

Fou9re going to need 'our guitar for this section ll these eamples )ill :e inT form.


25/41

11.1 - pplyin) hat Inter*als and +teps re

%irst8 I9ll do intervals. ll T eamples are in standard tuning.

A------A

A------A

A------A

A------A

A------A

A-0-1--A

In the *e' of 38 3 - is a b&8 or a minor second. ll these interval eamplesare in 3 ma"or .

A------A

A------A

A------A

A------A

A------A

A-0-2--A

3-# is a &8 or ma"or second inter*al.

A------A

A------A

A------A

A------A

A------A

A-0-3--A

3-G is a b$8 or a minor third.

A------A

A------A

A------A

A------A

A------AA-0-!--A


26/41

3-G# is a $8 or ma"or third.

A------A

A------AA------A

A------A

A------A

A-0-$--A

3- is a '8 or ma"or fourth.

A------AA------A

A------A

A------A

A------A

A-0-+--A

3-5b is a b%8 or diminished fifth.

A------A

A------A

A------A

A------A

A------A

A-0-/--A

3-5 is a %8 or a perfect fifth.

A------A

A------A

A------A

A------A

A------A

A-0-5--A

3-C is a #%8 or an au)mented fifth.


27/41

A------A

A------A

A------A

A------A

A------A

A-0-6--A

3-C# is a (8 or a ma"or si>th.

A------A

A------A

A------A

A------A

A------A

A-0-10-A

3-4 is a b8 or minor se*enth.

A------A

A------A

A------A

A------A

A------A

A-0-11-A

3-4# is a 8 or ma"or se*enth.

A------A

A------A

A------A

A------A

A------A

A-0-12-A

3-3 is unison8 or an octa*e.

7o) for steps.


28/41

A------A

A------A

A------A

A------A

A------A

A-0-1--A

3- is a half step =8>

A------A

A------A

A------A

A------A

A------A

A-0-2--A

3-# is a

A------A

A------A

A------A

A------A

A------A

A-0-3--A

3-G is a

11.& - pplyin) ,nderstandin) the Chromatic +cale

So 'ou *no) 'our chromatic scale8 and ho) it )or*s8 :ut #ust to drive it home8

here9s the chromatic scale in TD

A-------------------------------A

A-------------------------------A

A-------------------------------A

A-------------------------------A

A-------------------------------AA-0-1-2-3-!-$-+-/-5-6-10-11-12--A


29/41

That9s #ust one octave8 starting on 38 there is much more of it. (ere it is pla'ed

differentl'.

A----------------------------AA----------------------------A

A----------------------------A

A---------------------0-1-2--A

A-----------0-1-2-3-!--------A

A-0-1-2-3-!------------------A

' no)8 'ou should full' understand the chromatic scale.

11.$ - pplyin) the 7a"or +cale and Triads

In this section I9m going to give 'ou eamples of the ma#or scale8 :' T-ing it

out in all the *e's for 'ou8 and then eamples of triads starting on strings (8 %8 '

and $. (ere are 'our ma#or scalesD

: =: : : ,: % B :>D

A-----------------------------!--AA-------------------------+-5----A

A-------------------$-+-5--------A

A-------------$-+-5--------------A

A-------!-+-5--------------------A

A-!-+-5--------------------------A

= , % B >D

A-----------------------------$--A

A-------------------------/-6----AA-------------------+-/-6--------A

A-------------+-/-6--------------A

A-------$-/-6--------------------A

A-$-/-6--------------------------A

: =: ,: % B :>D

A----------------------------------+--A

A-----------------------------5-10----A

A----------------------/-5-10---------A

A---------------/-5-10----------------A

A--------+-5-10-----------------------A


30/41

A-+-5-10------------------------------A

= , % B >D

A----------------------------------/--A

A-----------------------------6-11----A

A----------------------5-6-11---------A

A---------------5-6-11----------------A

A--------/-6-11-----------------------A

A-/-6-11------------------------------A

= , % B >D

A---------------------------------------5--A

A---------------------------------10-12----A

A-------------------------6-10-12----------A

A-----------------6-10-12------------------AA---------5-10-12--------------------------A

A-5-10-12----------------------------------A

: =: ,: % B: : : :>D

A-----------------------------------------6--A

A-----------------------------------11-13----A

A--------------------------10-11-13----------A

A-----------------10-11-13-------------------A

A---------6-11-13----------------------------AA-6-11-13------------------------------------A

= , % B >D

A-------------------------------------------10--A

A-------------------------------------12-1!-----A

A----------------------------11-12-1!-----------A

A-------------------11-12-1!--------------------A

A----------10-12-1!-----------------------------A

A-10-12-1!--------------------------------------A

,: =,: % B : : ,:>D

A-------------------------------------------11--A

A-------------------------------------13-1$-----A

A----------------------------12-13-1$-----------A

A-------------------12-13-1$--------------------A

A----------11-13-1$-----------------------------A

A-11-13-1$--------------------------------------A

, =, % B ,>DA-----------------------------0--A


31/41

A-------------------------2-!----A

A-------------------1-2-!--------A

A-------------1-2-!--------------A

A-------0-2-!--------------------A

A-0-2-!--------------------------A

% =% B : , %>D

A-----------------------------1--A

A-------------------------3-$----A

A-------------------2-3-$--------A

A-------------2-3-$--------------A

A-------1-3-$--------------------A

A-1-3-$--------------------------A

B: =B: : : : : ,: % B:>DA-----------------------------2--A

A-------------------------!-+----A

A-------------------3-!-+--------A

A-------------3-!-+--------------A

A-------2-!-+--------------------A

A-2-!-+--------------------------A

B =B , % B>D

A-----------------------------3--AA-------------------------$-/----A

A-------------------!-$-/--------A

A-------------!-$-/--------------A

A-------3-$-/--------------------A

A-3-$-/--------------------------A

Triads:

7a"or D

H C Hoot

T C "a#or Third

% C ;erfect %ifth

eA-A---A---A---A---A---AA-A---A---A---A---A---A


32/41

BA-A---A---A---A---A---A

A-A---A-%-A---A---A---A

A-A---A---A---A-T-A---A

,A-A---A---A---A---A-H-A

eA-A---A---A---A---A---A

A-A---A---A---A---A---A

BA-A---A-%-A---A---A---A

A-A---A---A---A-T-A---A

A-A---A---A---A---A-H-A

,A-A---A---A---A---A---A

eA-A---A---A---A---A---A

A-A---A---A-%-A---A---A

BA-A---A---A---A-T-A---AA-A---A---A---A---A-H-A

A-A---A---A---A---A---A

,A-A---A---A---A---A---A

eA-A---A---A-%-A---A---A

A-A---A---A---A---A-T-A

BA-A---A---A---A---A-H-A

A-A---A---A---A---A---A

A-A---A---A---A---A---A,A-A---A---A---A---A---A

7inor D

H C Hoot

T C "inor Third

% C ;erfect %ifth

eA-A---A---A---A---A---A

A-A---A---A---A---A---A

BA-A---A---A---A---A---A

A-A---A-%-A---A---A---A

A-A---A---A-T-A---A---A

,A-A---A---A---A---A-H-A

eA-A---A---A---A---A---A

A-A---A---A---A---A---A

BA-A---A-%-A---A---A---A

A-A---A---A-T-A---A---A


33/41

A-A---A---A---A---A-H-A

,A-A---A---A---A---A---A

eA-A---A---A---A---A---A

A-A---A---A-%-A---A---A

BA-A---A---A-T-A---A---A

A-A---A---A---A---A-H-A

A-A---A---A---A---A---A

,A-A---A---A---A---A---A

eA-A---A---A-%-A---A---A

A-A---A---A---A-T-A---A

BA-A---A---A---A---A-H-A

A-A---A---A---A---A---A

A-A---A---A---A---A---A,A-A---A---A---A---A---A

u)mentedD

H C Hoot

T C "a#or Third

% C ugmented %ifth

eA-A---A---A---A---A---A

A-A---A---A---A---A---A

BA-A---A---A---A---A---A

A-A---A---A-%-A---A---A

A-A---A---A---A-T-A---A

,A-A---A---A---A---A-H-A

eA-A---A---A---A---A---A

A-A---A---A---A---A---ABA-A---A---A-%-A---A---A

A-A---A---A---A-T-A---A

A-A---A---A---A---A-H-A

,A-A---A---A---A---A---A

eA-A---A---A---A---A---A

A-A---A---A---A-%-A---A

BA-A---A---A---A-T-A---A

A-A---A---A---A---A-H-A

A-A---A---A---A---A---A

,A-A---A---A---A---A---A


34/41

eA-A---A---A---A-%-A---A

A-A---A---A---A---A-T-A

BA-A---A---A---A---A-H-A

A-A---A---A---A---A---A

A-A---A---A---A---A---A

,A-A---A---A---A---A---A

4iminishedD

H C Hoot

T C "inor Third

% C iminished %ifth

eA-A---A---A---A---A---A

A-A---A---A---A---A---A

BA-A---A---A---A---A---A

A-A-%-A---A---A---A---A

A-A---A---A-T-A---A---A

,A-A---A---A---A---A-H-A

eA-A---A---A---A---A---A

A-A---A---A---A---A---ABA-A-%-A---A---A---A---A

A-A---A---A-T-A---A---A

A-A---A---A---A---A-H-A

,A-A---A---A---A---A---A

eA-A---A---A---A---A---A

A-A---A-%-A---A---A---A

BA-A---A---A-T-A---A---A

A-A---A---A---A---A-H-A A-A---A---A---A---A---A

,A-A---A---A---A---A---A

eA-A---A-%-A---A---A---A

A-A---A---A---A-T-A---A

BA-A---A---A---A---A-H-A

A-A---A---A---A---A---A

A-A---A---A---A---A---A

,A-A---A---A---A---A---A


35/41

So there9s 'ou :asic triads8 and com:ining those ma#or scales and triads8 I9ll

ma*e 'ou a nice mini solo

A-----/-10--10-/------5-A-=5>--5------------5---------A-------5-10-----------AA---5------------5h10---A--------10-----------10------A-5--10------10-5s+--$-A

A-6---------------------A-----------10-6-/-------10-6-A----------------------A

A-----------------------A-----------------------------A----------------------A

A-----------------------A-----------------------------A----------------------A

A-----------------------A-----------------------------A----------------------A

A---5-/-$---5-/---5-/-A---5-/-10:12----A

A-+-------+-----+-----A-+--------------AA---------------------A----------------A

A---------------------A----------------A

A---------------------A----------------A

A---------------------A----------------A

A-10-5-/-10-5-/----------------------------------------------A

A---------------10-5----10-5---------------------------------A

A--------------------10------10-6-/----6-/-------------------A

A-----------------------------------10-----10-6-/----6-/-----A

A-------------------------------------------------10-----10--A

A------------------------------------------------------------A

A-----------------------------------------------/-5-10-5----A

A------------------------------------------5-10-------------A

A-----------------------------------/-6-10------------------A

A----------------------------/-6-10-------------------------A

A-5-/----5-/----------/-5-10--------------------------------AA-----10-----10-5-/-5---------------------------------------A

That9s :uilt completel' off the ma#or scale and triads8 in the *e' of C. Fou can

even repeat it

11.' - pplyin) Fatural 7inor2 8armonic 7inor and 7elodic 7inor +cales

This one )ill :e :ro*en do)n into three sections. 4ne for Fatural 7inor 8 one


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for 8armonic 7inor and one for 7elodic 7inor . nd then I9ll give 'ou another

mini solo

Fatural 7inor

%irst off8 I9ll give 'ou a :o pattern. I9m not a huge fan of these :ut the' are good

for :eginners.

H C Hoot

o C other note =28 :38 !8 $8 :+8 :/>

eA-A-H-A---A-4-A-4-A---A

A-A-4-A-4-A---A-4-A---ABA-A-4-A---A-4-A---A---A

A-A-4-A---A-H-A---A-4-A

A-A-4-A---A-4-A-4-A---A

,A-A-H-A---A-4-A-4-A---A

%rom that 'ou can find minor scales.

,mA-----------------------------0-2-3--A

A-----------------------0-1-3--------A

A-------------------0-2--------------A

A-------------0-2-!------------------A

A-------0-2-3------------------------A

A-0-2-3------------------------------A

m

A-----------------------------$-/-5--A

A-----------------------$-+-5--------AA-------------------$-/--------------A

A-------------$-/-6------------------A

A-------$-/-5------------------------A

A-$-/-5------------------------------A

etc. Eust follo) the :o pattern.

8armonic 7inor


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I9ll #ust do the same thing. o pattern and ta:s.

eA-A-H-A---A-4-A-4-A---AA-A-4-A-4-A---A---A-4-A

BA-A-4-A---A-4-A---A---A

A-A---A-4-A-H-A---A-4-A

A-A-4-A---A-4-A-4-A---A

,A-A-H-A---A-4-A-4-A---A

3 8armonic 7inor

A-----------------------------0-2-3--A

A-----------------------0-1-!--------A

A-------------------0-2--------------A

A-------------1-2-!------------------A

A-------0-2-3------------------------A

A-0-2-3------------------------------A

8armonic 7inor

A-----------------------------$-/-5--A

A-----------------------$-+-6--------A

A-------------------$-/--------------A

A-------------+-/-6------------------A

A-------$-/-5------------------------A

A-$-/-5------------------------------A

7elodic 7inor

eA-A-H-A---A-4-A-4-A---A

A-A-4-A---A-4-A---A-4-A

BA-A-4-A---A-4-A---A---A

A-A---A-4-A-H-A---A-4-A

A-A-4-A---A-4-A---A-4-A,A-A-H-A---A-4-A-4-A---A


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3 7elodic 7inor

A-----------------------------0-2-3--AA-----------------------0-2-!--------A

A-------------------0-2--------------A

A-------------1-2-!------------------A

A-------0-2-!------------------------A

A-0-2-3------------------------------A

7elodic 7inor

A-----------------------------$-/-5--A

A-----------------------$-/-6--------A

A-------------------$-/--------------A

A-------------+-/-6------------------A

A-------$-/-6------------------------A

A-$-/-5------------------------------A

7o) for the mini solo.

'6'

AA--12h13p12--------------------------------12h13-1+h1/p1+h1/p1+h1/pA

AAo----------1$p13p12-----------------12h13-------------------------A

AA--------------------1!p13-----13h1!-------------------------------A

AA--------------------------1$--------------------------------------A

AAo-----------------------------------------------------------------A

AA------------------------------------------------------------------A

A-1+p13p12-------------12h13-1+h1/p1+h1/p1+h1/p1+-

13p12------------------------------A

A----------13p12h13h1$----------------------------------1$p13------------------------A

A-------------------------------------------------------------1!p13------------------A

A-------------------------------------------------------------------1!p12----1!p12---A

A-------------------------------------------------------------------------1!---------A

A------------------------------------------------------------------------------------A

A---------------------------------------------12--1/-1+-1/-13-1/-1+-----AA

A----------------------------13-------13-0-1$--------------------------oAA


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A-----------------------------------------------------------------------AA

A-12h1!p10h12h1!p10h12h1!h1$----1!h1$-----------------------------------AA

A----------------------------------------------------------------------oAA

A-----------------------------------------------------------------------AA

11.% - pplyin) The 7odes of the 7a"or +cale

hec* out "odes With "ode ictionar'8 under scales for all the modes

ta::ed out. In this section I9ll give 'ou the :o patterns for the modes so 'ou

can move them around.

Ionian

eA-A-H-A---A-4-A---A-4-A

A-A---A---A-4-A---A-4-A

BA-A---A-4-A-4-A---A-4-A

A-A---A-4-A-H-A---A-4-A

A-A-4-A---A-4-A---A-4-A

,A-A-H-A---A-4-A---A-4-A

4orian

eA-A-H-A---A-4-A-4-A---A

A-A-4-A---A-4-A-4-A---A

BA-A-4-A---A-4-A---A---A

A-A-4-A---A-H-A---A-4-A

A-A-4-A---A-4-A---A-4-A

,A-A-H-A---A-4-A-4-A---A

/hry)ian

eA-A-H-A-4-A---A-4-A---A

A-A-4-A-4-A---A-4-A---A

BA-A-4-A---A-4-A---A---A

A-A-4-A---A-H-A-4-A---A

A-A-4-A---A-4-A-4-A---A

,A-A-H-A-4-A---A-4-A---A

http://www.ultimate-guitar.com/lessons/scales/modes_with_mode_dictionary.htmlhttp://www.ultimate-guitar.com/lessons/scales/modes_with_mode_dictionary.html


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Lydian

eA-A-H-A---A-4-A---A-4-A

A-A---A---A-4-A---A-4-ABA-A---A-4-A---A-4-A-4-A

A-A---A-4-A-H-A---A-4-A

A-A---A-4-A-4-A---A-4-A

,A-A-H-A---A-4-A---A-4-A

7i>olydian

eA-A-H-A---A-4-A---A-4-AA-A---A---A-4-A-4-A---A

BA-A---A-4-A-4-A---A-4-A

A-A-4-A---A-H-A---A-4-A

A-A-4-A---A-4-A---A-4-A

,A-A-H-A---A-4-A---A-4-A

eolian

eA-A-H-A---A-4-A-4-A---A

A-A-4-A-4-A---A-4-A---A

BA-A-4-A---A-4-A---A---A

A-A-4-A---A-H-A---A-4-A

A-A-4-A---A-4-A-4-A---A

,A-A-H-A---A-4-A-4-A---A

Locrian

eA-A-H-A-4-A---A-4-A---A

A-A---A-4-A---A-4-A---A

BA-A-4-A---A-4-A-4-A---A

A-A-4-A---A-H-A-4-A---A

A-A-4-A-4-A---A-4-A---A

,A-A-H-A-4-A---A-4-A---A

7o mini solo for this one8 I9d #ust :e repeating m'self.


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