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1990-07-23
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Guitar Scales & Modes
Version 1.0 (July 24, 1990)
DISTRIBUTION:
This program is being distributed under the BeggarWare concept. I'm
handing it out to anyone that wants it. Use it without any formal
obligation to the author, except that you can't sell it to anybody. I've
obtained alot of Public Domain stuff in the past from various BBSs, so
here's another attempt on my part to contribute back to the cycle.
If you like the program and feel that you've received some benefit from it,
(and you feel charitable) you can contribute $5.00 to my Foster's Ale fund
("It's Australian for beer, mate." $5 is the going rate for a six pack in
these here parts).
PROGRAM DESCRIPTION:
This program requires Microsoft Windows 3.0 to run. When the program is
started, a guitar neck is displayed. The notes corresponding to the
C Major scale (Ionian mode) are displayed (the default setting), showing a
complete map of the scale in that key for the entire fretboard.
The numbers represent the scale degrees (note positions in the scale) for
the selected scale or mode. I also tell you how the scale is constructed,
using the notation of:
Root = key signature note (root note)
H_S = Half Step interval
W_S = Whole Step interval
So the Ionian mode (major scale) is listed as follows:
Root, W_S, W_S, H_S, W_S, W_S, W_S, H_S
This means start at the Root note, then add a whole step to get to the 2nd
scale degree, then another whole step to get to the 3rd scale degree, the a
half step to get to the 4th scale degree, etc. The final half step takes
you back to the root note one octive higher than the starting note.
In some of the scales, you'll see W_S + H_S. This is a minor 3rd interval.
When you choose a scale that has a 5th and a flatted 5th, like the Blues
Scale 1 for example, you'll see the number 5 listed on adjacent frets. The
first instance is the flatted fifth, the second is the fifth. I print the
scale degrees as integers not characters, so that's one of the little
problems I encountered after I designed the data structures, wrote a whole
bunch of code and then wanted to add that scale. Whoops! As long as
you're aware, that shouldn't be too much of a problem.
Three menu categories are available: FILE, KEY, & MODE.
The KEY submenu contains the 12 chromatic notes in western music scales.
Select the key signature that you want from this menu
The MODE submenu contains the list of scales and modes.
FILE lets you print the window, exit the program, and see the About box.
I've tested the print capability with an Apple NTX II Postscript compatible
printer. For best results on any printer, I suggest you run the Windows
Printer configuration program and put your printer in Landscape mode.
SUGGESTED USE:
Rather than trying to memorize the fretboard by brute force, try a
different approach. Select the key of A and the Blues Scale 1. This scale
is the Aeolian mode (natural minor) with an extra note, a flatted 5th,
thrown in.
Root 6 chord formation:
----------------------
Now look at how you would play an Am barr chord with the root note on the
sixth string (This is known as a Root 6 chord). Your index finger is on
the 5th fret when you form that chord. Your pinky and ring finger are on
the 4th and 5th strings at the 7th fret. This is a barr chord constructed
on the Em open chord form. Now the region starting at the 5th fret and
extending to (including) the 8th fret, represent a "Box" position. As a
1st attempt, learn the scale just in that position. Visualize the scale in
relation to how you form the Am barr chord. That way you can shift up and
down the neck and play any minor barr chord with the root on the 6th string
using the same pattern.
Root 5 chord formation:
----------------------
Now what if you want to play the Am chord with the root note on the 5th
string (known as a Root 5 chord) instead of the 6th string. You would play
this chord on the 12th fret using a barr chord constructed from the Am open
chord form. The Box position is the 12th fret to the 15th fret.
Connecting a Root 6 to a Root 5:
-------------------------------
What if you wanted to connect the two Am chord forms. Starting with the
Root 6 box position, and the root note on the 4th string/7th fret, play the
following pattern (grouped by string):
1 (fret 7 strng 4),
3 (fret 5 strng 3), 4 (fret 7 strng 3), 5b (fret 8 strng 3), 5 (fret 9
strng 3),
7 (fret 8 strng 2), 1 (fret 10 strng 2),
3 (fret 8 strng1), 4 (fret 10 strng 1), 5b (fret 11 strng 1), 5 (fret 12
strng 1).
Now take a look at where you are. You're on the 12th fret which is where
you form the Root 5 Am barr chord. You've connected up 1 octive.
Connecting a Root 5 to a Root 6:
-------------------------------
You can connect up to the Root 6 Am barr chord on the 17th fret with this
pattern (starting with the Am Root 5 barr chord box position):
1 (fret 14 strng 3),
3 (fret 13 strng 2), 4 (fret 15 strng 2), 5b (fret 16 strng 2), 5 (fret 17
strng 2),
7 (fret 15 strng 1), 1 (fret 17 strng 1).
Now look at where you are. You're on fret 17, which is where your index
finger forms the Am barr chord like you did on the 5th fret. The scale
pattern that you learned on the 5th thru 8th frets is the same as the scale
pattern on the 17th thru 20th frets.
Now you know how to connect the Root 6 chord to the Root 5 and up to the
Root 6 chord. You have just learned how to connect these chord up and down
the fret board. And you did it by visualizing where and how you make the
barr chords! Just learn the connecting patterns.
Applying this to chord changes:
------------------------------
This stuff also applies to different chords as well. If you want to solo
over a Root 6 Cmaj chord to Root 5 Em chord, use the program to learn the
notes in the Root 6 Cmaj box position. You've already learned the Root 5
minor box position (the pattern from the Am at the 12th fret above). Now
when you solo, choose the notes from the Cmaj box when you're on that
chord, then switch to the Root 5 minor box when the chord changes to Em.
All you have to do is make sure that the lick you play has a smooth
transition (sound) when the chord changes. This can be achieved by
selecting a note that is common to both patterns when the change occurs, by
bending the string to change the pitch from a note in the Root 6 major box
to one in the Root 5 minor box, or sometimes by playing a 7th note (7 note
in the scale) and dropping a half step (this only works if the drop in half
step results in a note that belongs on the new scale), or by not actually
playing anything when the chord changes.
HOW TO CONTACT THE AUTHOR:
I hope you get some benefit from this program. If you have any comments,
suggestions or you want to contribute to my well being, I can be contacted
at the following:
US Mail: David Sampson
P.O. Box 060573
Palm Bay, FL 32906
InterNet: dsampson@x102a.ess.harris.com
Enjoy......