peter greenfield - the mechanics of metal - lesson 2 - total scales and modes

8/13/2019 Peter Greenfield - The Mechanics of Metal - Lesson 2 - Total Scales and Modes

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The Mechanics of Metal SeriesA state-ol-the-art instruction course designed to help beginning,intermediate, and advanced guitarists master the art 1 heavymetal guitar playing.

Lesson 1: Heavy Metal Chord Guide with accompanyingcassette tape

Lesson 2: Total Scales and Modes with accompanyingcassette tape)

Lesson 3: Technique and Exercises with accompanyingcassette tape)

Lesson 4: Tricks with accompanying cassette tape)Lesson 5: 100 Versatile Licks and Runs with accompany-

ing cassette tape)

Mechanics 1 Metal PublicationsP.O. ox 162Howard Beach, N.Y. 11414


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The Mechanies o Metar- SeriesA Sound and Organlzed Approach to theMasterlng o Heavy Metal Gultar'-

Lesson 2: Total Seales and Modes

All material written, narrated and perlormedby Peter Greenlield.

COPfl ll b t I 1986 by Pe te O eu flel4.A t llllu .eM:'Yed. No portLon of tlle \ l d c d materialma be o d ~ c : e d In an manl\t l ..,"at_ v e r ..,Ltllout pe lmLuLon


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Author's Note

Please read all the material In this booklet BEFORE going on tothe cassette tape. Once you've galned a completeunderstanding o al the written material, use the cassette tapeto reinlorce and further expand your learning experience.

uch eare has been taken so that a the materialpresented in the Mechanics l etar- series can be understoodby guitarists at almost sny level o playlng ability, even thosewith minimal knowledge o musie. To obtaln the most benefittrom thls course, re8d through all materia carefully. Try toabsorb each idea completely belare going on. Ir confusionshouJd occur at any point, review the troubled area. Altergoing over it 8 few times, it shouJd make sense.

Please note that 8 small number placed aboye any word orter m Indicates the lesson in which that word or term isdlscussed mo re thoroughly. Por example, on page 5, a small 1appears aboye the term "chord construction". Thls means thatchord construction is discussed thorougbly In Lesson 1. Thesereterences are provided primarUy lor those who have orderedthis lesson individually, and not the entire Mechanics o Metal'course.

I hope that Lesson 2 enables you to advance your guitarplaylng. Good luck.


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Today's heavy metal guitarist ls ver-y scale oriented. Therock guitarists ol ol earlier years seemed to base their stylemore around repetitive, bluesy soundlng licks. You can stillhear a blues influence in many ol today's top metal players, butflying up and down exot ie sounding seales has beeome part olthe credentials ol the twentteth centur-y heavy metal guitarist.Scales can e used to create an atmosphere or depict a mood,as well as provide the lramework lor flashy, lightening fastruns. Once you've gained a solid knowledge ol their application,you can use seales to create countr-y, bluesy, eerie, or sweetmelodic sound qualities, whether you're playing a speedybarrage l notes or slaw, tasty lines.Let's get started. Scale eanstruetian is very similar tochord construction1 All seaIe types are constructed from themajar scale o the same letter name. Any type of "A" scale,whether it i5 A blues, ' A diminished, A harmonle minar, etc.,will be eonstrueted from the A majar seale. Any type o O5caIe (O blues, O diminished, etc. is eonstructed from the O

majar seale, and so forth. The major seate ls the "Big Daddy".That shouldn't e too hard to remember. After a11, it is ealledthe "majar" scaleIf all ehords and scales are eonstructed from the majarseale, where does the majar seale itsell come from? Wel1, themajar scale has ts own lormula for construetian. The majarscale is made up of whole-step and halt-step "intervals". Aninterval is the amount l distanee between two notes. t waspointed out in Lesson 1 that a half-step is equal to the distaneeal one fret on the guitar. B to e, e to e#e to O, etc. are all

half-step intervals. A whole step is equal to the distanee ltwo frets. B to e#e to 0 , 0 # to F, etc. are all whole-stepintervals.The majar se ale is construeted tr om the foU owing arderof intervaIs: whole-step, whole-step, half- step, whole-step,whole-step, whole-step, half-step. The majar seale containsseven difterent notes, starting and ending on the tonie. (Thetonte is also known as the key eenter al' root - the letter nameof the seale.) The eighth degree t the majar seale is one

octave ' higher than the first degree.

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The major scale Is Usted below in al1 keys. Not lce thateach key contains a dltterent amount ot sharps and tIats. Thisis because each key must be altered in a ditterent way to t tthe major scale lnterval pattern. There are seven keyscontaining sharps and seven keys contalning tlats. The key o eis the only key that contains no sharps or fIats. (It there is anycontusion concerning sharps ( , ) and nats pIease reter toLesson l .)Key oC e e D E F G A B e

WhoIe- lWhoI. HaIf_ WhDIe- WboIo- WhoIe- H. N.Slep Sltp SUp Sttp Sl.p Sttp Slep

KeyoC G: G AKey of D: D EKey of A: A BKey of E: E PIKey of B: B oKey of FI: FI GIKey of o e l DIKey of F: F GKey oC Bb: Bb eKey of Eb: Eb FKey oC Ab: Al BbKey of Db: Db EbKey of Gb: Gb AbKey of eb CI Db

BFIe lGIDIAlElADGeFBbEb

eGDAEBFIBbEbAlDbGbebPb

DAEBPIelGIeFBbEbAbDbGj,

EBPIelGIDIAlDGeF

BbEAl

PIe lGIDIAlElBIEADGeFBb

GDAEBPIe lFBbEbAlDbGbeb

Now that we have covered majar scale construct ion, let'ssee how the major scale is used to construct a1l other scaletypes. Just as every chord type has its own tormula torconstruction, every scale type has its own tormula too. Theformula tor the blues scale is 1, 4, 5, This means thatthe blues scale conssts ot the tlrst degree (or root), tlatled

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third degree, fourth degree, tlatted tifth degree, titth degree,and tIatted seventh degree ot lts major scale. To construct ablues scale in any key, apply the blues scale formula to themajor scale of the deslred key.

Blues Scale eonstruction - Key ot A

A major scale: BelDEFIGl3 . 6 8Blues scale tormula: 1, 4, Mi 5,A blues scale: A, e, D, Eb E, G

To construct a diminished scale in any key, apply thediminlshed scale tormula to the major scale ot the desired key.

Dlminished Scale eonstruction - Key ot EE majar scale:Diminished scale formula:E diminished scale:

EPlGl BOIJIE1 3 4 56 81, 2, 4, b5, ,6, 6, 7E, 11;, G, A, Bbe, e#, D#

To construct a harmonic minor scale In any key, apply theharmonic minor scale tormula to the majar scale of the desiredkey.

Harmonic Minar Scale Construction - Key of GG major scale:Harmonic minor scale formula:G harmonic minor scale:

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G BeDEPlG3 4 5 6 7 81, 2, b3, 4, 5, b6 , 7G, A, S ' e, D, , F;I


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All the dltterent scale types are constructed in the samemanner. You just need to know all the tormulas, which will beindicated later on.It is also quite Important tor you to know the chords thatcorrespond wlth each scale type tor improvisation. In order to

understand how chords and scales interrelate, you'll need togain a complete understanding ot "diatonic" chord harmony.(Diatonic meaning coming trom or relating to a particular key.)

Below ls the e major scale written on the musical statt.

We are now golng to "harmonIze" the e major scale. Thlsmeans to actually "stack" two more notes on top ol each note inthe e majar scale to torm trlads} Only notes contained in thekey l e major may be stacked. (No sharps or tlats.)

Once the e major scale Is harmonized using three notes,the tollowing trlads result:e majarO minormlnorP majar

(e, E, G(D, P, A)(E, G, B(P, A, eG majarA minarB di m nishede major

(G, B, D(A, e, E(B, D, P)e, E, G)The aboye chords are sald to be diatonic to the key ot e

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major. It any major scale Is harmonized with three notes, thesechord will always resultoWe can now conclude the tollowlng ntormation about thetriads contained In any glven key:

The 1 chord is a major triad.The 1I chord Is a mlnor triad.The m chord la a minar triad.The rv chord ia a majar triad.The V choro la a major triad.The V choro Is a minor triad.The VII chord Is a dlmlnlshed triad.The VUI chord 1s a major triad.

Note: t la standard practice to use Arablc numerals whendescribing the single note degrees ot a scale, and to useRoman numerals when describing chords.

To tind the triada contalned withln any glven key, it la notnecessary to go through the process ot harmonlnzlng the key'smajor scale. Simply apply the principies that you've learnedabout the chords diatonic to any key. Suppose you wanted toknow the triads contained in the key ot G major. Below ls the Gmajor scale. Al the scale degrees have been numbered.G B e D E F l G3 4 S li l 1

Since the first degree o the G major scale ls "G", the Ichord In the key ot G is G major. Stnce the second degree othe G major scale is "A" the U chord in the key o Gis A minoroThe III chord is B minor, the IV choro la e major, the V chord iso major, the V choro Is E minar, the VII choro Is diminished,and the VIII chord ls G major. Use thl method to tind thetriads contained in any Iven key.

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We are now going to go back to the e major scale andstack one more note on top o each triad.

Once the e major scalethe following chords result: is harmonized using four notes,e major 7D minor 7E minor 7P major 7

e, E, G, B)(D, P, A ,e)(E, G, B, D)(F, A, e, E)

G dominant 7A minor 7B minor nse major 7(G, B, D, F)(A, e, E, G)B, D, P, A)e, E, G, B)

The aboye chords are diatonic to the key of e major. Irsny major scale is harmonized with four notes, these chordI2 will always resultoWe can now conclude the following information about thechords contained in any given key:

The 1 chord is major 7.The chord is minor 7.The J chord is minor 7.The IV chord is major 7.The V chord is dominant 7.The VI chord is minor 7.The VII chord is minor 7b5.The VIlI chord is major 7.

Apply the principies of diatonic chord harmony to find themajor 7, minor 7, and dom inant 7 chords centained in any key.Actually, you wen't see too many ef the aboye chord typesin heavy metal. It has already been pointed out in Lesson 1 that

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most heavy metal chord progressions (a progression is anorganized sequence of chords) consist 1 power chords.' t wasal50 pointed out in Lesson 1 that although the power chord isneither major nor minor, it may function as a major or minorchord in a given progression.

A chord progression consisting of E minor, e major, Dmajor, and B minor is in the key 1 G major. If that sameprogression consisted o power chords onIy, it wouId still be i,nthe key of G major. The E power chord functions as an E minorchord, the e power chord functions as a e majar chord, the Dpower chord functions as a D major chord, and the B powerchord functions as a B minor chord. Whether a progressionconsista of seventh chords, triads, or power chords, it isimportant to know which key the progression is associated within order to apply the proper scales lor improvisation.By the way, even though you don't use them too often inheavy metal, you may want to make up some progressions using

majar 7, minor 7, and dominant 7 ehord types. Once you knowthe proper scales to use over them, they provide an interesting,jazzy ehange of pace for improvising.Befare we get to the scales, 1 would like to diseuss onemore aspect of music theory. Every major seaIe is associatedwith what is known as its relative minor scale. The relativeminar scale contains the same notes as its major scaIe, exceptthat the relative minor starts and ends on the major seaIe'ssixth degree .Look back at the G major seale . The sixth degree of theG majar seale is E . If we take the exaet notes of the G majorscale (which ncludes an PII), and arranged them starting andending on the scale's sixth degree, the result wouId be asfollows:

I G BCDEThe aboye scale is caBed E relative minor (also known as

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pure minor, natural minor, and the aeolian modelorelative minor seale con tains the same notes as theseale. E minor is said to be re la t ive to G major.The EG major

Now look baek at the C major seale. The sixth degree ofthe C major seale is A . l all the notes eontained in the emajor se ale (no sharps or f1ats) are arranged starting and endingon the seale s sixth degree, the result would be as follows:BCDEFG

The above seale is ealled A relative minoro It eontainsthe same notes as the C major se ale. A minor is relative to emajor.The eho rds eontained in the relative minor key are alsothe same chords as eontained in its major key. The onlydifferenee is that the relative minor key starts on the VI ehord.

Chords in the key of G major:G major, A minor, B minor, C major, D major, E minor, F:diminished, G major.

Choros in the key o E minor:E minor, F: dlminished, G major, A minor, B minor, e major, omajor, E minoro

Chords in the key of e major:e major, D minor, E minor, F major, G major, A minor, Bdiminished, C major.

Chords in the key of A minor:A minor, B diminished, C major, D minor, E minor, F major, Gmajor, A minoro

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Unless one is speaking of the exact order in which thenotes or chords occur, a song or choro progression may benamed by its major or minor key . Beeause most heavy metalsongs and ehoro progressions revolve around power choros thatfunction as minor chords, they re usually named by the minorkey.

We will now explore the different seale types as theyappear on the guitar fingerboard. For eaeh seale type, at leastfive different fingering patterns will be illustrated. Beingfamiliar with aU the fingering patterns for any seale type willinsure the ability to use that scale all over the fingerboard.

AH the seale patterns are moveable . This means thatthey may be moved from fret to fret, with each position givingthe seale a new letter name . All eircled notes indicate thescale s root - the note that determines the letter name of thescale. The principIe is the same as with rnoveable ehords.1 Ifpattern COl' the minor pentatonie scale is played at the fifthfret, it is in the key of A, since the sixth string, fifth fret is aoA note. (The root notes on the fourth and first strings arealso A notes.) Play the same pattern at the seventh fret andit is in the key of B as the sixth string, seventh fret is a Bnote. (lf you do not know the names of the notes on all sixstrings, a diagram indicating this information is included inLesson 1.)

Once you mernorize the scale patterns and see how easy itis to ch ange keys by moving them to different positions on thefingerboard, you probably won't Ceel tempted to constructscales using the formulas. The scale patterns that you areabout to lesrn are closer related to the actual playing o theinstrumento The method of construeting scales using formulaswas demonstrated primarily to show you the theoritical side ofthings. As each different se ale type is presented, its formulafor construction will also be indicated.

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Blues ScalePormula lor Construction: 1 b3, 4 b5 S b7

Plucm :jj: Plucm 111 2 Plttcm _4

M81 ues Stale CoveringPI Uem _5 Entire Fingerboard. Key of A:

The blues scaIe contains the same notes as the minorpentatonic scale, wlth the addition of one note - the tlattedfifth. Sometimes termed the "blues note", the tlatted rifth hastraditionally been used as a "passing tone". In other words, it isused to pass trom one note to another, lasting onlymomentarUy. The tlatted fifth is used in this manner becauseit clashes with the natural fifth ol the key, a note contained inmost chords that the blues scale corresponds with torimprovisation. When used as a passing tone, the flatted fifthgoes by so quickly that one barely gets a chance to hear thisclash.

In recent years, it seems to have beco me almost a trendamong heavy metal guitar players to achieve a haunting, eeriequality in their guita r solos. The flatted fifth is notorious torcreating this effect. As a result, tod ay's heavy metal guitaristwill resolve to the flatted fifth as weU as use it as a passingtone. (To resolve to a note means to end a phrase or lick onthat note, usually resulting in its emphasis.)

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You can avold shakey terrltory by emphaslzlng the flattedfitth in a situation where It won't clash wlth backround chordsor bass lines. The flatted flfth does not necessarily have to beused in a solo. Thls note can be Incorporated Into the verse,chorus, or any part ot a song where it will create a desirableettect as the late Randy Rhoads used it dur ing the ntro to hisclassic solo from "Over the Mountain".The blues scale works over the same choros as the minorpentatonic se ale. Just be sure to use the flatted tlfth withdiscretion. Remember, your ear is the true judge. If it soundsgood, it works

Major Pentatonic ScaleFormula for Constructlon: 1 2, 3, 5, 6

Pattem jJj: 1 Pluem jJj: 2

Plttem 4 5

Pattem _ .3

MajO " Pentltonic Seu CovcnnEntire Finerboard. Key o A:

Pauem :11=4

The major pentatonic scale relates to the major scale inthe same way that the minor pentatonle seale relates to therelative minor scale. The major pentatonic scale is a smaller,five note version of the major seaIe. This scale is usua1ly used

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over a major triad or power chord tor a country or country rocktype sound. Use the A major pentatonic scale over an A majortriad, A power chord, or a progression in the key of A majorthat centers around an A major triad or an A power chord.

Before we see how the major scale looks on thefingerboard, lets take a look at how the major scale can bemanipulated to produce seven different sounding scales calledmodes . Below is the C major scale. All the scale degreeshave been numbered.

CDEFG BC456 7 8

The following names are used to correspond with eachdegree o the major scsle:

C D E B C'

ooI

The e major scale usually appears starting and ending onthe note C , as illustrated aboye. It the C major scale startedand ended on the note D , it would be referred to as D dorian.D dorian mode: DEFG BCD

The O dorian mode is not a D major scale. (The key o Omajor contalns two sharps.) It is actually a e major scale, onlystarting and ending on the scale 's second degree .

If the e major scale started and ended on the note lE", itwould be referred to as E phrygian.E phrygian mode: EFG BCDE

The E phrygian mode is not an E major scale . (The key 1E major contains tour sharps.) I t is a C major scale, only

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starting and ending on the scale's third degree. Each modestarts and ends on the scale degree o r r ~ s p o n d i n g with itsmodal na me. There are seven modes altogether, one for eachdegree of the major scale . The C major scale appearing in itsmost common form, starting and ending on the note C , canalso be called the e lonian mode.Now let s see how modea are used for improvisation. Amajor scale may be used to improvise over any of the choroscontained within ita key. If a major scale is played over its Ichoro, that major scale ia referred to as ionian. t a major

scale is played over its I chord, that major scale ia referred toas dorlan. When a major scale is played over its III chord, thatmajor scale is referred to as phrygian, and ao forth. The samemajor scale will produce a dlfferent sound over each chord.Therefore, seven different sounding scales, or major scalemodes, are available for improvisation.Modes are also helpful in describing the different

applications of major scales. For example, a G major scale, Fmajor scsle, or a C major scale may be used to improvise overan A mlnor triad (or A power chord). Each one 1 these scsleswill sound different over the A minor chord . If the G majorscale ls used, it may be referred to as A dorian, because Amlnor is the n choro from the key of G. If the F major scsle isused, it may be referred to as A phrygian, because A minor Isthe III choro from the key of F. If the e major scale is used, itmay be referred to as A aeolian, as A minor is the VI chorotrom the key of C. Once you beco me familiar with the qua1ityof each mode, you'll choose the one closest to the sound youdesire. The aeolian, dorian, and haunting phrygian are themodes used most commonly by the heavy metal gu itarist.

Ir you carefully examine the fingering patterns for eachmode, you will see that a pentatonic scsle fits inside eachpattern. The major pentatonic scale tits inside the lonian mode(major scale), and the minor pentatonic scale fits inside theaeolian mode (relative minor scal e). AIso note that the samefive fingering patterns are used for each mode; only the rootshave been changed. Once you memorize all five flngeringpatterns, you'll know all aeven modes.

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lonian Mode (major scale)Formula tor Construction: 1, 2, 3, 4, 5, 6, 7

Pattem _1 Pattem :jj: 3 Paucm

onian Mode CoveringPattem -. S Entire Finerboard. A lonian:

Use the ionlan mode oyer the major 7 chord, major triad,power choro, or choros in the key o the same letter name. UseA tonian over an A major 7 choro, A major triad, A powerchord, or chords In the key t A major.

Dorian ModeFormula tor Construction: 1, 2, 4 5, 6,

Pattem 1 Pattem _ 2 Pattem fi:l Pauem . Ri ---20

Oorian Mode


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mode will also work oyer choros in the majar key tour tretslower. Use A phrygian over an A minar 7 choro, A minar triad,A power choro, or choros in the key o F major.

Lydlan ModeFormula t r Construction: 1, 2, 3, 4, 5, 6, 7

Plttcm 1 Panem 3 httc m 4

Lyd ian Mode CoveringPattem _ 5 En tire Fingerboard A Lydian:

11 Use the Iydian mode over the major 7 choro, majar triad,or power chord t the same letter name. The lydian mode willalso work over chords in the major key five frets lower. Use A

lydian oyer an A majar 7 chord, A major triad, A power chord,or chords in the key t E major.

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Mixolydian ModeFormula or Construction: 1, 2, 3, 4, 5, 6,

Pattem 1 Pl ttem _3 httem 4

Mixolyd ian Mooe CQYcringPaucm = 5 Entirc fingcrboard. A Mixolydian :

11 Use the mixolydian mode oyer the dominant 7 choro,major triad, or power choro t the same letter name. Themixolydian mode will also work over choros in the majar keyfive frets higher. Use A mlxolydian over an A7 choro, A majortriad, A power choro, or chords in the key o O major.

Aeolian Mode(relative minor scaJe, natural minar scale, pure minor scale)Formula tor Construction: 1, 2, b3, 4, 5, b7

Paucm _1 Paucm 2a:23

Panem 3g 11-


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AeoIian Mode CoverinEndre Fingerboani. A AcoHan:

Use the aeollan mode oyer the minor 7 chord, minor triad,or power choro 1 the same letter name. The aeolian mode willalso work oyer chords in the major key three frets higher. UseA aeolian oyer an A minor 7 chord, A minor triad, A powerchoro, or chords In the key o C major.

Locrian ModeFormula for Constructon: 1, b2, b3, 4 b5, b6, b7

Pattem _\ Pattem 3

l.Axrian Mode CoveringPlttem S Entire Fincfboard.. A Locrian:

Use the locrian mode oyer the minor 7b5 chord ordiminished triad of the same letter name. The locrlan mode

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wUl also work oyer choros in the major key one fret higher.Use A locrian oyer an A minor 7b5 chord, A diminlshed triad, orchoros in the key of major.

Now that you've learned the (ve basie major scalellngering patterns, there are another seven major scale patternsthat you should know. 1 reler to these patteros as extendedmajor scales. These are the wide-stretch scales used by mosto today's top metal players. Toget her with the live patternsthat you already know, this makes a total o twelve differenttingering patterns lor any major scale mode. (If you experienceany difficulty executing the stretches necessary to performextended major scales, Lesson 3 includes an exercise designedto deal with this problem specilically.)

Extended Jonian ModePattem .-\ Plttcm _2 Pattcm -4

Pattem lfo6 Pattem .- 7

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Extended ori n Mode Extended LYdlan ModePanem . Patum 2 Patum 3mM Panem :4 Panem 1 Panem =2 Patum 3

PatumoJ5 Pattem =6 Panem 7 Panem _7

Extended Phryglan Mode Extended Mixolydlan ModePattem 1 Pattem .2 Patum :13 Panem 4 Panem 1 Pattem 2 Panem .3 Patlem _4 .; ;

Paltem _5 Patum =5 Patum _6 PatUm :;1>7

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Extended Aeolian ModePatlC m" l Pattem l2 Pattem 1Il3 Pattem _4

Extended Loer ian ModePattemttc l Pl ttem # 2 p. ttem # 3 Pattem _4

PaUem ,., j p. uem . ,

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Harmonic Minor ScaleFormula for Construetion: 1 2, b3, 4 5, b6, 7

p.ttem 1 Pattem .3 Pattem lf:4

Pattem # j H.nnonic Minor clle CoYerinEntire F ingerboard. Key o A:

The harmonie minor 3 another s inister sounding scaleused fayorably by guitarists IIke Ritehie 81ackmore, YngwieMalmsteen, and the late Randy Rhoads. Use the harmonicminor scale oyer the minor triad or power choro of the sameletter name. Use A harmonlc minor oyer an A minor triad or anA pow er choro. The A harmonic minor scale can also be usedover O minor, E major, or F major, when these choros are usedin a progression centering around an A minor triad or an Apower ehoro.

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Melodic Minor Seale (Ascending)Formula rOl eonstruction: 1, 2, .3 4, 5, 6, 1

Pl llem 1 tJ2 Pattcm ] Pallcm tJ4

a Pallem 5 Mclodic Minor Seale CoYcrinEntirc Fingerboard. Key o AThe melodic minor scale isn't used by too many of today'shigh ener-y guitarists, but some players, like YngwieMalmsteen, incorporate this scale into their guitar solos.The melodic minor scale actually contalns dlfferent noteswhen lt Is played ascendlng (trom lower octave to higheroctave) than when It is played descending (trom higher octaveto lower octave). The descendlng melodic mlnor scale containsthe same notes as the relative mlnor scale (aeoltan modeloWhen the melodic minor scale Is referred to trom animprovlsing standpoint, the ascending variation (sometimestermed the jazz minor scale) is usually used.Use t he ascending melodic minol' scale over the minol'triad Ol power chord t the ame letter naroe. Use A melodicminor over an A mlnor triad or an A power chord. The Amelodlc mlnor scale can also be used over O major and E major.when these choros are used in a pl'ogression centel'ing around anA minor tl'iad or an A power choro.

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Dlminished SealeFormula tor eonstructlon: 1, 2, 4, 6, 7

Pattem tJl Pattcm 2 Panem tJ ] P a t ~ m 4

OimiDishcd Se lle


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A number of the seale patterns presented in thls lessonmay be played at two posltiorl3 on the fingerboard or the samekey. II eaeh note lrom a Cale pattern Is played one octavelower or hlgher, the entire scale pattern itsell may be playedone octave lower or hlgher. Twelve lrets span the dlstance 1one octave lor any note on a single string. Therelore, any scalepattern may be repeated twelve frets above or below Itsposition, provlded the guitar doesn't ron out o frets.Look back at tlngerlng pattern 1 tor the mlnorpentatonic scale. In the key 1 A this scale pattern can beplayed at the fitth tret and one octave hlgher (twelve tretshigher) at the seventeenth tret. Now look at tlngerlng pattern

2 tor the mlnor pentatonlc seale. In the key of A thls sealepattern can be played starting at the elghth tret and one octavehigher starting at the twentleth tret. Pattel n 3 tor the minorpentatonic seale eannot be repeated at lower and hlgheroctaves In the key o A. Due to Its loeation on the tlngel'board,the neek does not Inelude twelve trets aboye or below itsposition. However, thls is not the case tor a number o otherkeys. For example, in the key o E pattern 3 may e playedstarting at the filth tret and one octave higher starting at theseventeenth tret.

Always keep in mlnd the possibility 1 repeating sealepatterrl3 at lower and higher octaves, 50 you can use the sealesthat you1ve learned to eover every last neh 1 the guftarfingerboard

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peter greenfield - the mechanics of metal - lesson 2 - total scales and modes

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