I also say minor key, because the Major Scale pattern covers the Natural Minor scale - the most commonly used minor key scale from which minor pentatonic is also derived. For jazz and more "exotic" music, Harmonic and Melodic Minor will give you the roadmap for additional scales, and some that are less commonly used but beautiful nevertheless! Scales such as Phrygian Dominant, Lydian Dominant, diminished and altered scales can be found within these two core patterns.
Once you're confident with playing the pattern starting from any of the 12 roots A-G , we can implement the root connection process below to unlock additional scales from exactly the same pattern In order for this to work, you need to have learned the notes on the fretboard , at least on the 5th and 6th strings.
This is something I recommend you do in the beginner stages of your learning journey, so if you've followed my lessons, you should already have this covered! The table below shows us which Major Scale pattern we would play in order to access one of its modes.
Don't worry, no need to memorise it! It's just for reference Below are these root connection points in movable relationships. That means they work no matter where you position the root of the scale you want to play. The second mode of the major scale. So it "begins" on the 2nd degree of its related Major Scale pattern.
Dorian is an especially versatile minor scale , as it can be used over most instances of a minor chord e. D Dorian over Dm. An easy way to find this root connection is to first establish the root of Dorian black square on the 5th or 6th string and then move down two frets one whole step to find its major scale root red square. So remember, there's only a whole step between the Dorian and Major Scale root When I say "starting on Phrygian, sometimes called Phrygian minor to distinguish it from the similarly named Phrygian dominant , is the 3rd mode of the major scale.
Therefore, it starts on the Major Scale's 3rd degree. It's often described as having a Spanish, flamenco or middle eastern sound, because of its traditional use. But you'll also hear it used in heavy metal e. The fourth mode of the Major Scale, and therefore starts on the 4th degree.
From So What to major ii-V-I progressions, the m7 chord plays a major part in the jazz guitar world. To help you build your m7 vocabulary , this section will teach you 5 must know minor jazz guitar patterns.
By developing your m7 vocabulary using commonly used patterns and techniques, you will allow yourself to confidently and accurately outline m7 chords when faced with these changes in a modal setting, major ii V I or minor ii V I chord progression. Feel free to learn these patterns in the given key Dm7 , as well as work them in all 12 keys as you begin to take these lines around the fretboard.
In this first m7 pattern, you will be adding a passing note between the root and second note of the scale, in this case D Dorian if the Dorian mode is new to you, learn more about guitar modes here. When soloing over m7 chords, you can use passing tones to connect scale tones, and as long as you resolve the passing tones then they will work well to create a sense of tension and release in your phrases.
This next m7 pattern uses an F triad to outline the Dm7 chord, which is a rootless Dm7 arpeggio. When soloing over m7 chords, you can play a major triad from the b3 of that chord in order to highlight the b3, 5 and b7 in your lines, essentially outlining the change without using the root in your line.
In this Django Reinhardt inspired pattern, you are using a Dm7 arpeggio with a passing note between the root and b7 of the chord. Again, adding passing tones to your lines, either scale or arpeggio based, is an important technique that should be explored further in the practice room. This last m7 pattern, inspired by Pat Metheny , uses the D Dorian Scale , as well as a dissonant chromatic note Eb , to create a slippery sound over this Dm7 chord.
As always, try the patterns in different keys and fret board positions. By doing this, you are focusing on the 3 to 7 triad, the triad built from the 3rd of the underlying chord , which in this key is Fm over Dm7b5. As well, there is one G note in this lick the 11th of the chord , which we will see throughout this lesson as a go-to note when soloing over any m7b5 chord.
Superimposing diatonic arpeggios like this Fm7 and Bb7 over Dm7b5 is a great way to play inside the changes, but not just run the diatonic arpeggio at the same time. Here, there is a chromatic passing tone being added between the 3rd and 4th of the scale Gb to bring a Bebop flavor to this line. Adding chromatic notes to m7b5 runs can be tricky, as it is such a strong chord sound, but it can be done and here is an example of just such a set of notes in action within an improvised line.
As well as superimposing four-note arpeggios over m7b5 chords , you can also focus on triads in your soloing over this common chord quality. In this line, you will find Fm and Gm triads being used to outline a Dm7b5 chord, again using familiar shapes, the triad, in a new situation in order to outline a m7b5 chord in your lines and phrases. This final lick uses a triplet rhythm to break up the chord tones that are the basis for this phrase.
Sometimes something as simple as changing the rhythms that you use over a chord is enough to breathe fresh life into your lines and phrases. Outlining triads is extremely common in Jazz improvisation. Triads pop up everywhere in Jazz, from playing scale patterns like this to outlining extended harmony from a particular root. They also flat out appear in Jazz tunes as well. Now, play through the same scale pattern in a descending fashion using traids. Notice that we have again selected triplets to play through this 3-note scale pattern.
Why all this playing in reverse? Playing arpeggios as scale patterns can be continued to 4-note chords as well. Playing seventh chord arpeggios through the major scale is an excellent way to improve your ability with scales and arpeggios.
Arpeggios can often be substituted with one another in a given key. So, getting into the habit of playing all the seventh chord arpeggios consecutively in the major scale will help promote new improvisational and substitution ideas. Continue this scale pattern by playing the same pattern in a descending fashion. In both of these arpeggio scale patterns, sixteenth notes are featured as there are 4 notes in a seventh chord arpeggio. To immediately double your seventh chord scale patterns you can swap the rhythms again.
Try playing sixteenth notes with the triad scale pattern and triplets with the seventh chord scale pattern. Make sure to use a metronome when you work on exercises that involve unfamiliar rhythms. You can immediately come up with new solo material using scale patterns by working with the following 3 parameters. Change the rhythm — Use triplets, eighth notes, sixteenth notes.
You can also use more complex rhythmic ideas by mixing rhythmic figures and not playing on every beat. Add additional notes — Throw in some neighbouring notes chromatic or diationic , but make sure you return to the interval s you selected to focus on. Start the process by first picking an interval to focus on.
In this case imagine you selected an interval of a 4 th. In the above example you played through the interval of a fourth with the addition of a passign tone. To keep things interesting, take a look at the same scale pattern again, but this time in reverse. Check out another lesson on learning jazz guitar licks here before going.
Let me know how you plan to approach scale patterns and lick building in the future. Join other subscribers in recieving nothing but the best Jazz guitar lessons. Terence, this page is full of invaluable information pertaining to Guitar Scale Patterns. Thanks so much, Bill. Why should you put time and effort into learning scale patterns on the guitar? Play through the above example a few times as a warm-up.
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