Easy Guitar Scales and Modes

Easy Guitar Scales and Modes Your stress free guide to learning guitar scales and modes. Published By: mattwarnockguitar.com Copyright © 2017 Matt Warnock The moral right of this author has been asserted. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any means without the prior permission in writing from the publisher. The publisher is not responsible for websites (or their content) that are not owned by the publisher. Website: mattwarnockguitar.com Facebook: www.facebook.com/mattwarnockguitar Twitter: twitter.com/matthewwarnock For the Best Free Jazz Guitar Lessons Online Visit mattwarnockguitar.com Cover Image by Twizzlebird Creative Other Books From Matt Warnock 30 Days to Better Jazz Guitar Jazz Guitar Practice Guide Modern Time: Jazz Rhythm Fundamentals Anatomy of a Lick .Essential Jazz Lines Easy Jazz Guitar Chords Easy Jazz Guitar Licks Jazz Standards Study Guides . Modes Minor Pentatonic/Blues Scales Major Pentatonic/Blues Scales Major Scale Practice Guide Major Scale Dorian Mode Phrygian Mode Lydian Mode Mixolydian Mode Aeolian Mode Locrian Mode Melodic Minor Practice Guide Melodic Minor Scale Melodic Minor Mode 2 Lydian Augmented Scale Lydian Dominant Scale Melodic Minor Mode 5 Melodic Minor Mode 6 Altered Scale Other Common Scales Harmonic Minor Scale Phrygian Dominant Harmonic Major Scale Harmonic Major Mode 5 . Table of Contents Get Your Audio Files Glossary of Terms How to Use This eBook Introduction to Guitar Scales Easy Guitar Scale System Scales vs. Symmetrical Scales Whole Tone Scale Whole Half Diminished Scale Half Whole Diminished Scale About the Author . tablet. Get Your Audio Files Welcome to Easy Guitar Scales and Modes. no worries. just email me at my contact page and I’ll be glad to sort out the audio files for you. Have fun with this book. on to learning easy guitar scales and modes! Cheers. and then drag them to your phone. If you don’t have a computer. I recommend that you download the mp3 files to your computer first. great to have you here! The audio examples and backing tracks for this book are available to download from http://mattwarnockguitar. feel free to send me an email on my contact page if you have any questions about the material in this book. Now.com/scales-audio. As well. or other device from there. Matt . I’m glad to help you out any way I can with your journey to learning guitar scales. F-D. Fingering – Term used to describe a scale shape on the fretboard. To help you understand the material in this book. etc. m7. Whole Steps – Two frets on the guitar. such as whole steps or half steps. and outlines a particular sound such as maj7. the distance between two chromatic notes. for example. String Set – A collection of strings that are used when playing a scale or mode. C-D. here are common musical terms and definitions. for example in C the tonic chord is Cmaj7. the distance between three chromatic notes. Scale – A musical device that contains 5 or more notes. Symmetrical Scales – Scales that are built by running one or a combination of the same interval. Interval – The distance between two notes. C-D for example. such as 654. Half Steps – One fret on the guitar. or 54321. C-C# for example. Mode – A scale-type device that is built by playing a parent scale from any note besides the tonic note. in this eBook. Glossary of Terms Music has a language all its own. Improvisation – Using musical devices such as scales and modes to create music in the moment without predetermined ideas. . m7b5. A-Bb. 5432. Tonic – The main chord of a key. explained in the next few chapters. So. As well. Explore both in your studies and then go with what works best for you at this stage in your musical development. Continue to each individual mode in that section and learn the shapes that way. there’s information for each scale/mode included above those fingerings to teach you how each mode/scale is built and used. here is a brief outline of what’s contained in this volume and how to effectively learn this material. As well. Whatever gets those shapes under your fingers is the best way to go. How to Use This eBook Before diving into this eBook. if you read the intro text in a section and it doesn’t click with you. that quick route isn’t for everyone. as well as a quick formula for each individual scale/mode. . there’s a quick guide to learning those fingerings. The main goal of this material is to teach you essential and commonly used scales and modes in the quickest and easiest way possible. melodic minor modes. This information teaches you the absolute quickest way to learn the scales/modes in that section. This eBook is written to give you a very quick formula for every mode group. and other scales). the fingerings are presented in one and two-octave positions within an easy to learn system. not to worry. But. at the start of each section (major modes. To do this. Here are those terms and what they mean so you can quickly absorb that information when you encounter it with each scale/mode. . keep in mind that this is a scale fingering system. Everything you need to quickly understand the background for that scale/mode and how to use it in your playing. Genres – Common genres that use this mode. Used Over – Common chords you can solo over with this scale. . Because that’s the main goal. Characteristic Note – Note that makes this mode sound unique. the main goal of this eBook is to teach you the easiest way to learn scale/mode fingerings on guitar. So. most of the material in this eBook is aimed at achieving that objective in your playing. how to solo with those notes. Scale and Mode Elements Defined Interval Pattern – Intervals used to build this scale. But. you can learn more about scales and modes and how they’re used in modern music. Now that you know the goals of this eBook. what makes those notes sound unique. rather than an improvisational guide. and what genres use that mode/scale. when working on this material. This tells you the intervals. while this information is helpful. but they include notes beyond chord tones. But. Whether it’s the pentatonic scale. but the arpeggio is more spread out. while arpeggios are built with only chord tones. or chord color. the first items you encounter are scales and modes. look into the three types of scales that are covered in this eBook. Here’s an example of a C major scale and Cmaj7 arpeggio to see how they both contain similar notes. what exactly are guitar scales? Guitar scales are groups of notes that outline a specific key center. Audio Example 1 Now that you know what guitar scales are. This is because arpeggios use only chord tones and scales use all the notes possible in that given key or mode. Introduction to Scales and Modes When learning how to solo on guitar. . mode. or Mixolydian mode. Scales function in a similar way to arpeggios. these melodic devices are essential for learning the fretboard and improvising. . and are more versatile when soloing than other scales. Because of this. more than you see in any other scale or mode in this eBook. . these are the scales guitarists often learn first. these scales are covered first in detail at the start of this eBook. Notice that there are a number of m3rd intervals. and contain larger intervals than the other scales covered in this eBook. Pentatonic and Blues Scales The first groups of scales explored in this eBook are pentatonic and blues scales. These scales don’t produce modes. Audio Example 2 Since they have larger skips. Here’s an example of an A minor pentatonic scale. such as major. the terms mode and scale are often interchangeable. that produce modes. you have the same notes. from the note A. parent scales and modes. Each time you start the parent scale on a different note. Audio Example 3 If you were to play this same scale. and harmonic minor. Mode Producing Scales The second group of scales in this eBook is divided into two sections. G major. G major. but you create the mode A Dorian. from the note B. . melodic minor. you create a new interval pattern. Parent scales are 7-note scales. and therefore a new mode. If you play the same scale. As you work your way through this eBook. An example of a parent scale is the G major scale below. Modes are scales that are built by playing parent scales from notes other than the tonic note. you create the mode B Phrygian. and read elsewhere. those terms aren’t always used that strictly in conversations. . It’s technically a mode. An example of this is the 3rd mode of melodic minor also being called the Lydian augmented scale. but it’s also called a scale in conversation. as you just learned.They have different meanings. Just know that even though there are very strict definitions of scales and modes. but in casual conversation they can often be interchangeable. learn about the easy guitar system in the next section. the whole half diminished scale. you learn symmetrical scales in this eBook. Notice that this scale is built by alternating whole and half steps. for example. Because it contains 8 notes. Ab and A in this case. Symmetrical shapes are covered in the final section of this eBook in more detail. which is how this scale gets it’s name. and don’t produce modes like major and melodic minor scales do. which you can see below. and pentatonic/blues scales. which you don’t do with non-symmetrical scales. . Audio Example 4 Now that you know the three types of guitar scales covered in this eBook. An example of a symmetrical scale is the diminished scale. Symmetrical scales use a symmetrical interval pattern. you use two letter names twice. Symmetrical Scales As well as learning scales that produce modes. Before looking at the easy guitar scale system. gives you material to solo with. frustrating. once you learn a two-octave scale shape you take it to a second position on the guitar. take a look at a typical major scale and how it’s laid out on the fretboard. when you take it to other positions the frustration begins. and helps you understand the fretboard. But. position shapes for the G major scale. The fingering makes sense. Here’s one of the most common two-octave. On it’s own it’s not a bad scale shape to learn. Audio Example 5 Normally. This is where the easy guitar scale system helps you become more efficient and effective in your scale practice routine. and prevent you from making music as you spend time memorizing shapes and not soloing. But. it can also be time consuming. and it covers every string. . Easy Guitar Scale System Learning scales on guitar is fun. which may or may not be intuitive. and can be combined to form two-octave shapes without learning anything new. but you have to add a new fingering. but not that similar. Audio Example 6 The easy guitar scale system prevents you from wasting time learning unrelated shapes when taking scales around the fretboard. that don’t have set fingerings. you have to learn a whole new fingering to move that scale around the neck. Here’s how that same G major scale looks from the 5th string. two-octave shapes right away. The fingering is written below each note in the notation. and above each note in the tab for easy reference. this eBook start with one-octave shapes. quick to memorize. The work you’ve done up to this point is there. . Here’s an example of a G major one-octave scale on the 6th string. it’s somewhat similar to the previous shape. Rather than use big.This is where that system falls apart. One-octave scales are easy to learn. Pretty easy right? The only hiccup you encounter with this fingering system is with the tuning of the 2nd string. here’s that same G major scale on the 5th-string root note. Because of this. if you know a major scale on the 6th string. 24-124-134. you already now it on the 5th string. But. and later the 4th string. that tuning is dealt with as you encounter it throughout the eBook.Audio Example 7 Now. Audio Example 8 . Notice that the fretting-hand fingering is the same. Once you learn the four. This prevents you from having to learn new shapes when you want to learn and use longer scales on the guitar. fingering on each string set. Audio Example 9 As you can see. or similar. Here’s an example of the 6th and 4th-string one-octave G major scales combined to form a two-octave G major fingering. 2. One-octave shapes are quick and easy to learn. you combine them to form two- octave scales. These shapes are easily combined to form two-octave scales. To recap this system. one-octave fingerings. you don’t have to learn anything new to create this longer scale. here are the main points to keep in mind. This saves time and energy in the practice room and takes you from memorizing shapes to soloing faster in your playing. you just combine two shapes you already know. These shapes use the same. 1. . 3. When creating this scale. they’re the same. Scales vs. you change the interval structure of the notes. written with the whole and half steps between each note as a refresher from previous material. Here’s how a mode is built. as well as the interval structure WWHWWWH. you build the intervals R-2-3-4-5-6-7. you can use that scale to build modes. just different order. C major in this case. First. it’s worth exploring the difference between scales and modes a bit further. C major = C D E F G A B . look at a C major scale. which you call Dorian. Audio Example 10 Now that you have the parent scale. When doing so. you take the major scale above and play it from the 2nd note. creating a new sound. Modes Though it was touched upon in a previous section. in this case playing C major from D to D. Here are the notes for C major and D Dorian to compare. Because of this. Modes contain the same notes as their parent scale. when playing C major from D to D. scales and modes are used in a similar way when soloing. C major = R 2 3 4 5 6 7 D Dorian = R 2 b3 4 5 6 b7 As you can see. giving Dorian a minor sound. but have a different interval pattern. Here’s how those two look on the staff.D Dorian = D E F G A B C The real difference is the intervals of those two melodic devices. compared to the major scale. modes create new sounds to explore in your solos compared to the parent scale they’re derived from. you create b3 and b7 intervals. . to outline chords and key centers. Audio Example 11 To recap. Then. they’re the best place to start when beginning with this scale fingering system in the practice room. If so. these shapes are a good introduction to the scale system used in this book. This allows you to easily move between these essential sounds in your solos. play all the notes written in the tab. great. But for now. If you’ve learned these scales in the past. which is totally fine. Over time. which as you learned is based on one-octave shapes. you’ll mix the boxes you learned with these fingerings in your playing. leave out the note in blue. work on this new fingering system as it sets you up to study the longer. Minor Pentatonic/Blues Scales The first scales in this eBook are the first scales that most guitarists learn. the minor pentatonic and minor blues scale. you probably checked out the 5 “box patterns” that are usually taught for these scales. To play the minor pentatonic scale. they’re written as one scale in the fingerings below. As the minor blues scale is the minor pentatonic scale with the b5 interval added it’s good to see them related on the fretboard. modal scales in the rest of this eBook. Because they’re closely related. If you’re new to these scales. riffs. to play the minor blues scale. . and songwriting. Funk. etc.Blues.) Characteristic Note – b5 (blues note) Genres – All . Jazz. Rock. Minor Pentatonic and Minor Blues Scale Elements Interval Pattern – R-b3-4-5-b7 and R-b3-4-b5-5-b7 Used Over – Any chord (major. m7. m7b5. maj7. Soul. 7. Audio Example 12 Audio Example 13 Audio Example 14 . etc. minor. Audio Example 15 Audio Example 16 Audio Example 17 . . they push you further into the study of the fingering system used in this eBook. including the blue note. guitarists often learn major pentatonic and blues scales when studying improvisation. This is because the 2nd string is tuned differently. these fingerings are a companion to those shapes. If you’re new to these scales. they’re written on top of each other. it begins on the first finger rather than the second finger. great. Since they’re so closely related. and you see it come back for every other major-based mode going forward. play all of the notes written in the tab. so major based modes. This is the first example of this fingering in this eBook. To play the major pentatonic scale. Notice that the 3rd-string fingering is different from the rest. which you can see below. Below are the one and two-octave fingerings for major pentatonic and major blues scales. Then. to play the major blues scale. modes with a major 3rd. avoid the note written in blue. Major Pentatonic/Blues Scales Besides the minor pentatonic and blues scales. The major blues scale is built by adding a b3 interval to the major pentatonic scale. If you learned the “box patterns” for these scales already. . have a different fingering on the 3rd string. and 13 Characteristic Note – b3 (blues note) Genres – Many. including Blues. Country. 9. maj9. and Jazz Audio Example 18 Audio Example 19 Audio Example 20 . 7. maj7. Major Pentatonic and Major Blues Scale Elements Interval Pattern – R-2-3-5-6 and R-2-b3-3-5-6 Used Over – Major. maj6. Rock. Audio Example 21 Audio Example 22 Audio Example 23 . . When doing so. Then. when you play Lydian. Ionian. Phrygian. Major Scale Practice Guide When practicing modes of the major scale. For example. And. you begin with Lydian and alter one note at a time to form all 7 major modes. The “brightest” mode is Lydian. These examples use a single one-octave fingering for each mode. when you’ve learned them all. because it has the most #’s in the key of C. bring them together in your studies and practice them from the “brightest” to “darkest” sounding modes. which can cause confusion for some players. After you get the hang of the exercise work the other fingerings in the same way. Dorian. and the “darkest” mode is Locrian. . The note in red is the note that’s altered from the previous mode to form the current mode. because it has the most b’s. you lower the 4th note by one fret to build Ionian. learn them in the order they appear in the scale. Here’s the order to practice all major modes when you have them under your fingers. it gets you away from only thinking of modes in the order they appear in the key. etc. This helps you see how every mode relates to the other major modes on the fretboard. Dorian . you lower the 7th of Ionian to form Mixolydian.Lydian Audio Example 25 . Audio Example 24 .Then.Mixolydian Audio Example 27 .Ionian Audio Example 26 . and so forth. Phrygian Audio Example 30 .Locrian .Audio Example 28 .Aeolian Audio Example 29 . You do this in both the one-octave shape. Because the B string is tuned differently. you begin that fingering with your 13 fingers. otherwise known as the major scale. with the exception of the 3rd-string root scale. you use the fingerings 24/124/134. the 3rd- string fingering is altered compared to the other fingerings. Major Scale The Ionian mode. modes with a major 3rd interval. . is the first mode in the major scale system. The major scale introduces you to this fingering in a mode context. and the two-octave combined shape for this mode. When learning this scale. As with all other major-based modes. which prepares you to learn similar modes the same way. maj6. etc. Audio Example 31 Audio Example 32 Audio Example 33 . Jazz. and maj9 Characteristic Note – 4th Genres – Many including Rock. maj7. Pop. Classical. Major Scale Elements Interval Pattern – R-2-3-4-5-6-7 Used Over – Major. Audio Example 34 Audio Example 35 Audio Example 36 . . a C Dorian mode has the same notes as the Bb major scale. you can use the fingering 134/13/124 on the 3rd-string fingering to keep things unified. Dorian. not to worry. Dorian Mode The first minor mode in the major system. . because of the tuning of the B string. as it does with major-based modes. just know that Dorian is used to solo over minor family chords when you want a brighter sound than Aeolian. Being the second mode of the major scale. and because it’s a minor based mode. just running from C to C. If you prefer. you don’t change the fingering on the 3rd string. The fingering pattern for Dorian is 134/13/124. There’s also a fingering alteration when you get to the 3rd-string root. is found in many musical styles and is essential learning for any improvising guitarist. Try both and see which one you prefer then go forward from there. so just be aware of it when working on Dorian. If that’s confusing. This doesn’t happen in all minor-based modes. Dorian Mode Elements Interval Pattern – R-2-b3-4-5-6-b7 Used Over – Minor. m6. Classical. and Rock Audio Example 37 Audio Example 38 Audio Example 39 . and m11 Characteristic Note – 6th Genres – Jazz. m7. Fusion. m9. Audio Example 40 Audio Example 41 Audio Example 42 . . you can use your 1-3 fingers for those notes no problem. compared to 1-3 on the other string sets. Try both and see what you think. When used over m7 chords. you can use the same scale over 7th chords. or you may prefer one over the other. . you bring a Flamenco-influenced sound to your lines. On the other side. There. With the 4th-string fingering. Phrygian Mode Phrygian. the 3rd mode of the major system is a bit of a chameleon mode as it fits over both m7 and 7th chords in your solos. where you create a 7sus4alt sound. there’s an alteration because of the B string. Jazzers like John Coltrane explored Phrygian over 7th chords in their solos to great effect. as the b2 builds tension in your lines. Then. you use 2-4 fingers on the 2nd string. Try both approaches out and see what you think. whatever works for your ears is cool. You may like both and use both in your solos. players like Al Di Meola and Paco De Lucia used Phrygian over m7 chords to build memorable lines. If you prefer to keep things unified. Jazz. and Classical Audio Example 43 Audio Example 44 Audio Example 45 . Phrygian Mode Elements Interval Pattern – R-b2-b3-4-5-b6-b7 Used Over – m7 and 7th chords Characteristic Note – b2 Genres – Flamenco. Rock. Audio Example 46 Audio Example 47 Audio Example 48 . . While the #4 sounds unique compared to Ionian. Lydian Mode Used as a “brighter” option that Ionian over major-based chords. it creates tension that needs to be addressed in your solos. Lydian’s #4 interval creates a cool sound to explore in your solos. . Lastly. because it has a major 3rd. the 3rd-string position begins on your first finger. experiment with resolving that tension in your lines. Experiment with that note to see how you want to deal with it. compared to your second finger with the other string sets. and more importantly. Fusion. and Classical Audio Example 49 Audio Example 50 Audio Example 51 . and maj7#11 Characteristic Note – #4 Genres – Jazz. maj7. maj6. Rock. Lydian Mode Elements Interval Pattern – R-2-3-#4-5-6-7 Used Over – Major. maj9. Audio Example 52 Audio Example 53 Audio Example 54 . . Mixolydian is a favorite mode of country. When mixed with the blues scales. rock. Again. compared to your middle finger elsewhere. Mixolydian Mode The third and final major-based mode in the major system. and jazz guitarists. Mixolydian creates interesting and engaging lines over major and 7th chords. both major and minor. the 3rd-string position begins with your index finger. because it has a major 3rd interval. . Mixolydian Mode Elements Interval Pattern – R-2-3-4-5-6-b7 Used Over – Major. and 13th Characteristic Note – b7 Genres – Country. Blues. Rock. Classical. 7th. and Jazz Audio Example 55 Audio Example 56 Audio Example 57 . 9th. Audio Example 58 Audio Example 59 Audio Example 60 . . If you want to keep the fingerings unified. metal. Aeolian Mode Known as the natural minor or relative minor scale. Aeolian sometimes makes an appearance in jazz. but not as much as in other genres. With a darker sound compared to Dorian. Try both fingerings out and go with what feels most comfortable to you. and pop guitarists. you can use 13 on those top notes no problem. the 4th-string root shape uses a different fingering for the top-2 notes. . Aeolian is a favorite minor mode for rock. Because of the 2nd-string tuning. 24 compared to 13. Aeolian Mode Elements Interval Pattern – R-2-b3-4-5-b6-b7 Used Over – Minor. and Jazz Audio Example 61 Audio Example 62 Audio Example 63 . Pop. Classical. Blues. m7. m9. and m11 Characteristic Note – b6 Genres – Rock. Audio Example 64 Audio Example 65 Audio Example 66 . . go forward with the one that feels best to you. you won’t see it often in pop or rock music. that doesn’t mean it’s not worth studying. as this mode will get you out of a tight spot when you do see those chords in a song. As was the case with the other minor-based modes. Try the fingering below. Because it’s used over m7b5 and m11b5 chords. but it can be applied elsewhere as well. Locrian. But. Locrian Mode The final major mode. Then. the 4th-string fingering is altered for the last two notes to accommodate the 2nd string. . and then switch it up to 1-3 fingers if you aren’t comfortable with 2-4. is found mostly in jazz and fusion music. and Classical Audio Example 67 Audio Example 68 Audio Example 69 . Fusion. Locrian Mode Elements Interval Pattern – R-b2-b3-4-b5-b6-b7 Used Over – m7b5 and m11b5 chords Characteristic Note – b5 Genres – Jazz. Audio Example 70 Audio Example 71 Audio Example 72 . . not to worry. As a quick reference. such as Ionian. Here’s how you do that. Here are all 7 major modes with their melodic minor counterparts so you can see how this fingering system works. you take all 7 major modes. lower one now in each mode. When doing so. Melodic Minor Practice Guide As you move from major modes to the melodic minor family. But. if you don’t prefer this method. Ionian – lower 3rd to form melodic minor Dorian – lower 2nd to form melodic minor mode 2 Phrygian – lower root to form Lydian augmented scale Lydian – lower 7th to form Lydian dominant scale Mixolydian – lower 6th to form melodic minor mode 5 Aeolian – lower 5th to form melodic minor mode 6 . take each major mode fingering and lower these notes to build the new fingerings. but you can also build them by altering notes in major modes you already know. and then lowering one note by one fret. the 3rd in this case. skip to the melodic minor mode sections below to learn those fingerings separately. here are the notes that you lower in each major mode to form the relative melodic minor mode on guitar. the easiest way to learn these new modes is to compare them to the 7 major modes. by playing a major mode fingering. Below you learn all 7 melodic minor modes. If you prefer this method of learning melodic minor scales. and you have all 7 melodic minor modes on the guitar. The note in red is the note that’s altered from a major mode to form each melodic minor mode. Locrian – lower 4th to form the altered scale Audio Example 73 Audio Example 74 Audio Example 75 . Audio Example 76 Audio Example 77 Audio Example 78 . Audio Example 79 . This mode can be used to solo over minor family chords. melodic minor can be easier to learn and memorize then the major modes you already know. but it creates tension with the major 7th interval. This is different from the major modes. resolving it so it sounds hip and not like a mistake in your playing. When soloing with melodic minor. Because the fingerings are always the same. which had fingering changes because of the 2nd-string tuning. Melodic Minor Scale The first melodic minor mode uses the same fingering no matter what string set you’re on. you need to address the maj7 in your lines. . and mMaj7 Characteristic Note – 7 Genres – Jazz. Melodic Minor Elements Interval Pattern – R-2-b3-4-5-6-7 Used Over – Minor. and Classical Audio Example 80 Audio Example 81 Audio Example 82 . Fusion. m6. Audio Example 83 Audio Example 84 Audio Example 85 . . it’s worth checking out to see how you can bring it into your playing. Melodic Minor Mode 2 The second mode of melodic minor is a rarely used mode. bringing a 7sus4alt sound to your phrases. you use the same fingerings for every shape. it’s normally used to solo over dominant 7th chords. . Though this mode has a m3rd interval. as compared to the major scale modes you learned earlier. but one that’s worth learning to cover the fretboard when soloing with melodic minor. While you might not use this mode that often. Again. 7b9sus. and 13b9sus Characteristic Note – 6 (13) Genres – Jazz and Fusion Audio Example 86 Audio Example 87 Audio Example 88 . Melodic Minor Mode 2 Elements Interval Pattern – R-b2-b3-4-5-6-b7 Used Over – 7sus. 13sus. Audio Example 89 Audio Example 90 Audio Example 91 . . you use 1-2-4 on the second string of each one-octave shape. and mode down from there. Lydian Augmented Scale The third mode of melodic minor is also known as the Lydian augmented scale. but you put space between each note. where the frets are closer. which you haven’t done before. . begin by playing this mode higher up the fretboard. The first. This creates a stretch that you have to navigate when learning this mode on the fretboard. Then. as it’s like Lydian with a #5 interval. you change the fingering on the 3rd- string root due to the tuning of the 2nd string. Eventually you’ll play the stretches with ease in the lower frets by approaching this mode in this manner. There are two fingering items to look at when learning this mode. because it’s a major-based mode. Because of this stretch. Lydian Augmented Scale Elements Interval Pattern – R-2-3-#4-#5-6-7 Used Over – Maj7. Maj7#11. and Maj7#5 Characteristic Note – #5 Genres – Jazz and Fusion Audio Example 92 Audio Example 93 Audio Example 94 . Audio Example 95 Audio Example 96 Audio Example 97 . Lydian Dominant Scale The most popular melodic minor mode, besides the melodic minor scale itself, Lydian dominant is used over 7th chords to create the 7#11 sound. Again, it’s got a major 3rd interval; therefore you change the fingering for the 3rd-string shape due to the tuning of the 2nd string. Because this scale is so often used in jazz and fusion, if you play those genres then this mode is essential learning. Even if you play other genres, this mode appears so often that it’s worth learning for any improvising guitarist. Lydian Dominant Scale Elements Interval Pattern – R-2-3-#4-5-6-b7 Used Over – 7th, 9th, 13th, and 7#11 Characteristic Note – #4 Genres – Jazz, Fusion, and Classical Audio Example 98 Audio Example 99 Audio Example 100 Audio Example 101 Audio Example 102 Audio Example 103 . . you change the fingering when playing the 3rd-string root position. that appears mostly in jazz and fusion music. the 3rd string in any one-octave shape uses the spread 1-2-4 fingering you saw with the 3rd mode of melodic minor. Melodic Minor Mode 5 The 5th mode is another rare mode. work down the fretboard towards the nut as you build this scale and your dexterity/flexibility on the guitar at the same time. as with any major-based mode. start higher up the fretboard if that stretch is too much for your hands at this point in your development. compared to other melodic minor sounds. As well. Again. . Because it has a major 3rd. Then. 9th. 7b13. Melodic Minor Mode 5 Elements Interval Pattern – R-2-3-4-5-b6-b7 Used Over – 7th. and 9b13 Characteristic Note – b6 Genres – Jazz and Fusion Audio Example 104 Audio Example 105 Audio Example 106 . Audio Example 107 Audio Example 108 Audio Example 109 . . it has a m3rd. . Melodic Minor Mode 6 The 6th mode of melodic minor is used to solo over half-diminished based chords. it’s worth exploring to see how it can fit into your improvisational palette. Though you probably won’t use this mode often. Because it’s a minor-based mode. you don’t have to alter the fingerings for any of the string sets with this mode. which is why it’s mostly used in jazz and fusion. Melodic Minor Mode 6 Elements Interval Pattern – R-2-b3-4-b5-b6-b7 Used Over – m7b5. m11b5. and m9b5 Characteristic Note – 2 Genres – Jazz and Fusion Audio Example 110 Audio Example 111 Audio Example 112 . Audio Example 113 Audio Example 114 Audio Example 115 . . but there is a big stretch with the 2nd string of each shape. Altered Scale The final melodic minor mode is also one of the most popular. which is the most common name for this mode. but you need to be aware of how they sound when applied to different 7th chords. The altered scale. by working melodic minor modes you encounter this stretch several times. Though this stretch is tough to learn. This helps get these modes under your fingers and works on that large stretch at the same time. you don’t change the shapes on the 3rd string. you need to address those sounds in your lines. is used to create tension over dominant family chords. . With this mode. You don’t have to always resolve all of those tension notes. b9-#9-b5-#5. Because this mode uses so much tension. 7b5. and 7#5 Characteristic Note – 3 Genres – Jazz and Fusion Audio Example 116 Audio Example 117 Audio Example 118 . 7alt. 7#9. 7b9. Altered Scale Elements Interval Pattern – R-b2-b3-3(b4)-b5-b6-b7 Used Over – 7th. Audio Example 119 Audio Example 120 Audio Example 121 . . So. Though you might not use these scales and modes as much as major and melodic minor. and dominant solos. Other Common Scales The next group of scales and modes come from harmonic minor and harmonic major. and enjoy exploring the new avenues they lead you down in your playing. two lesser-used but important scale systems. Used mostly in jazz and fusion. . have fun with them. exposing your ears to new scales and modes is always a good idea in the practice room. check out these other modes. these devices add new colors to your minor. You never know when a new melodic device will spur your creativity when writing songs or soloing over common chords and progressions. and classical music to a certain extent. major. Even if you never use these sounds in your playing. explore them to see where they lead you in your playing. except the 4th-string root. beginning with the first mode of the harmonic minor scale. Because of this. This mode uses the same fingering for each string set. . only a few of them are commonly used in modern music. where you use 3-4 on top rather than 2-3. you focus your attention on two of those modes in this eBook. Harmonic Minor Scale Though there are 7 modes of the harmonic minor scale. this is the only fingering that makes sense on that string set. Though other modes allowed you to experiment with multiple fingerings. Classical. Harmonic Minor Scale Elements Interval Pattern – R-2-b3-4-5-b6-7 Used Over – Minor. and Fusion Audio Example 122 Audio Example 123 Audio Example 124 . and m7b6 Characteristic Note – 7 Genres – Jazz. Metal. Rock. mMaj7. Audio Example 125 Audio Example 126 Audio Example 127 . . it’s often used as an introduction to altered notes as it has less tension than the fully altered scale. harmonic minor mode in this eBook is the 5th mode. Because it’s a major-based mode. Phrygian dominant focuses on the b9 and b13 intervals over dominant 7th chords. Used as and alternative sound to the altered scale. Phrygian Dominant The second. every position uses the same fingering. you need to start the 3rd-string position with your index finger. . Because of this. with a major 3rd interval. otherwise known as the Phrygian dominant scale. and last. Other than that. 7b9.b13 Characteristic Note – b6 Genres – Jazz and Fusion Audio Example 128 Audio Example 129 Audio Example 130 . 7b13. Phrygian Dominant Scale Elements Interval Pattern – R-b2-3-4-5-b6-b7 Used Over – 7th. and 7b9. 7alt. Audio Example 131 Audio Example 132 Audio Example 133 . . While you might not use this scale often. the harmonic major scale is built by taking a major scale and lowering the 6th note by one fret. Harmonic Major Scale Not the most commonly used scale. you adjust the fingering on the 3rd-string position. as you work on the stretch between notes 6 and 7. hence the name. Because the first half of the scale is the same as the major scale. while the second half looks like harmonic minor. This makes the first half of the scale look like Ionian. it’s can be a strong technique builder. . Maj7#5. Harmonic Major Scale Elements Interval Pattern – R-2-3-4-5-b6-7 Used Over – Maj7. and Maj9 Characteristic Note – b6 Genres – Jazz and Fusion Audio Example 134 Audio Example 135 Audio Example 136 . Audio Example 137 Audio Example 138 Audio Example 139 Harmonic Major Mode 5 Though the first mode of harmonic major isn’t used that often, the fifth mode is used in jazz and fusion solos. When doing so, you create a 13b9 sound over a dominant 7th chord, highlighting only one altered note in the process. Because there’s a major 3rd interval, you need to adjust your fingering on the 3rd-string set. Experiment with this sound in your solos as you explore it as an alternative to Phrygian dominant and the altered scale. 7b9. and 13b9 Characteristic Note – b2 Genres – Jazz and Fusion Audio Example 140 Audio Example 141 Audio Example 142 . Harmonic Major Mode 5 Elements Interval Pattern – R-b2-3-4-5-6-b7 Used Over – 7th. Audio Example 143 Audio Example 144 Audio Example 145 . . such as the two diminished scales. they sound great in your solos nonetheless. Though they have extra notes. Experiment with these symmetrical scales in your practicing and soloing to find how they fit into your improvisational concepts. scales that have symmetrical interval patterns. these scales have odd numbers of notes compared to the other scales and modes in this eBook. and are built with a different interval system than other scales. They can also be built by alternating two common intervals between each note. but they add new sounds to your solos and open your ears to new soloing possibilities on guitar. like the whole tone scale. Symmetrical scales are built with one common interval between each note. . They might not be your cup of tea right now. Symmetrical Scales The final group of scales in this eBook contains symmetrical scales. Because they have symmetrical intervals. C and C#. you need to adjust the fingering on the 3rd- string set position to accommodate for the 2nd-string tuning. C-D-E-F#-G#-A# whole tone scales all contain the same notes. because there are six notes in a whole tone scale. as it has a major 3rd interval. Lastly. scales you learn on guitar. there are only two whole tone scales to learn. This makes it one of the easiest. The same for C#-D#-F-G-A-B whole tone scales. Because the scale is symmetrical. Whole Tone Scale One of the most popular symmetrical scales. As well. the whole tone scale is built by playing whole tones between each note in the scale. you create a six-note scale that outlines a 7#11#5 sound in your solos. hence the name. . though toughest to make musical. When doing so. Classical. 7#5. and Fusion Audio Example 146 Audio Example 147 Audio Example 148 . 9. Whole Tone Scale Elements Interval Pattern – R-2-3-#4-#5-b7 Used Over – 7th. 7#11. and 9#5 Characteristic Note – #5 Genres – Jazz. Audio Example 149 Audio Example 150 Audio Example 151 Whole Half Diminished Scale The first of two diminished scales is built by alternating whole and half steps from root to root, hence the name of the scale. This scale is also called the fully diminished scale, as it’s used to solo over dim7 chords when improvising. Because it alternates whole and half steps, there are 8 notes in the scale, compared to 6 with whole tone and 7 with other common scales. As well, there are only 3 whole half diminished scales to learn, as C-Eb-Gb-A diminished scales all share the same notes. The same is true for C#-E-G-Bb and D-F-Ab-B whole half diminished scales, which is similar to how whole tone is dealt with on guitar. Classical. and Fusion Audio Example 152 Audio Example 153 Audio Example 154 . Rock. Whole Half Diminished Scale Elements Interval Pattern – R-2-b3-4-b5-b6-6-7 Used Over – Dim7 and DimMaj7 Characteristic Note – 7 Genres – Jazz. Audio Example 155 Audio Example 156 Audio Example 157 . . there are only 3 half whole diminished scales. . There’s no alteration in the fingerings for this scale. C-Eb-Gb-A all share the same notes. which alternates half and whole steps. as did the whole half diminished scale. because this scale is based on m3rd intervals. you use the same finger groupings for every string set of half whole diminished. This scale is also called the dominant diminished scale. as it’s used to solo over 7th chords where you create a 13#11b9 sound in your lines. It also has 8 notes. Again. hence the name. as do the C#-E-G-Bb and D-F-Ab-B half whole diminished scales. Half Whole Diminished Scale The final symmetrical scale is the half whole diminished scale. a half step plus a whole step is a m3rd. Half Whole Diminished Scale Elements Interval Pattern – R-b2-b3-3-#4-5-6-b7 Used Over – 7b9. and 7#11 Characteristic Note – 6 Genres – Jazz. and Fusion Audio Example 158 Audio Example 159 Audio Example 160 . Classical. 13b9. Audio Example 161 Audio Example 162 Audio Example 163 . please visit the Play Jazz Guitar Facebook group and post any questions you have for a fast response. Thanks for working with me throughout this eBook. If you have any questions. .Congrats. you’ve made it through the Easy Guitar Scales eBook! Not an easy accomplishment as you’ve discovered. Stefon Harris. popular music. You never know where it’ll lead you. then Western Michigan. I’ve also taught jazz guitar. and Nepal. I want to share this love of jazz and guitar with you. Because of this. I studied at three of the top jazz programs in the world. I’ve taught over 6000 private jazz guitar lessons. it’s soloing I really love. . and finishing with a Doctorate from the University of Illinois (UIUC). My love of jazz has taken me from small town Canada around the globe. the UK. to Professors at NYU. Some of my favorite gigs were at: Lincoln Center International Association for Jazz Education Conference NuJazz Festival (Brazil) Savassi Jazz Festival (Brazil) International Jazz Day Festival (Nepal) Jazz has been in my life for 20 years. and everything in between. But. and Slide Hampton. the US. and I still love those styles of music. and that’s what drew me to jazz. and music business at universities in Canada. Brazil. I’ve played over 2500 gigs in 8 countries and shared the stage with Randy Brecker. and my students range from beginners. and every day I’m glad I found this great music. starting with McGill University. About the Author I grew up listening to classic rock and blues. visit mattwarnockguitar.For the best free jazz guitar lessons on the web.com .