Scales and Modes all on 1 big chart for your wall
fast_eddie
I put this cart together. It has assis me understand all the
realtionships with scales and modes.
Go to : http://www.geocities.com/red_roostr/esham.html
and click the ling to:
Guitar / Bass
Scales and Modes cheater pinup chart
Go the the excell button and then print it out in high resolution and
large font -
cut the pages so the common parts overlap - tape the pieces together
and hang it on the wall.
It written as a C Ionion - but just reposition your startion point and
wala - away you go!
I hope it helps you as much as it has me. Always learning - Ed
If it helps drop me a line !
Horace_Caulk
it.
Danko
"fast_eddie" <e...@cypress.com> wrote in message
news:1161806179.6...@e3g2000cwe.googlegroups.com...
That's nice. Thanks Ed.
Danko
Kloka-mo'
--
-rob Bartlett, TN
O>
/(\)
^^
"fast_eddie" <e...@cypress.com> wrote in message
news:1161806179.6...@e3g2000cwe.googlegroups.com...
fast_eddie
Diagram is for Guitar - drop 2 right side columns for Bass
1) Tour fingers go in the boxes.
2) This is written as a C major Ionion mode as in all white key on a
piano where Root note is #1
3) For a different key just put the # 1 position on that note (its all
about pattern relationships)
4) If you play a C major Ionian scale its 1,2,3,4,5,6,7,8
5) The related Dorian mode scale - go up 1 hole step to D scale notes
start on 2,3,4,5,6,7,8,9th ( or =2 next octave )
6) Start on the 4th note of the Ionian and its a Lydian 4,5,6,7,8,9th
or 2nd,10th or 3rd ,11th or 4th
7) Start on the 5th is a MixoLydian etc. ect.
The harmony in all these modes ties back to the Key you are in - ie:
Play a C major cord (the mother scale is Ionian - 1,2,3,4,5,6,7,8)
- solo in a G major Mixolydian 5,6,7,8,9or 2nd,10 or 3rd ,11or 4th,12
or 5th (home is the 5th of the Cmajor Ionian)
Try it Fast_Eddie
John Bigboote
> Scales and Modes cheater table explained:
> Diagram is for Guitar - drop 2 right side columns for Bass
>
> 1) Tour fingers go in the boxes.
Okay, so...
I'm confused.
-jb
--
John Bigboote
Yoyodyne Propulsion Systems
"A Growing Excited Company"
Brian Running
>
> Okay, so...
>
> I'm confused.
Couldn't even get past step one, hey? What are we going to do with you?
fast_eddie
S&y
ultimate goal is to have it in your head & fingers. There's no
substitute for 10 minutes a day playing scale patterns to a metronome.
S&y
bassman2
S&y wrote:
> Having this info on the wall is OK if you're using it to practice. The
> ultimate goal is to have it in your head & fingers. There's no
> substitute for 10 minutes a day playing scale patterns to a metronome.
>
> S&y
>
Horace_Caulk
guitar fret board.
Horace_Caulk
freboard
fast_eddie
already have it then job done. Do you have anything constructive to
say ? I've got it - was trying to help beginners - go blow A.H.
----------
S&y
beginners. Your attitude is inappropriate. There is nothing personal in
my response. If you don't like what you've read, move on to what comes
next. There's no need to be rude. This is Usenet.
S&y
Jonathan
> Well - Duhhhh , It was to help people visualize how they fit. If you
> already have it then job done. Do you have anything constructive to
> say ? I've got it - was trying to help beginners - go blow A.H.
> ----------
>
You kids play nice!
I think writing this kind of thing out is a great exercise; I used to
spend quite a bit of time drawing out the fretboard and mapping out all my
modes, roots, positions, etc.
I don't really see how it applies hanging on the wall though; if you
already know all this stuff you don't need to have a print out of it, and if
you don't already have it down a chart isn't going to get you there.
My suggestion: get out some lined paper, work one mode at a time, write
it all out for yourself. It's neat that someone put theirs online, but to
really dig it I think you need to write it out for yourself.
-Jonathan
Kloka-mo'
I had it all printed out on a wall a long time ago, and it helped me a LOT.
Eventually, I memorized it all, and it was a revelation. Thanks Fast Eddie.
Yea, I went on to write it, during boring lectures and meetings. That
helped as well.
Remember, we all learn in different ways. Some (me) need to see the big
picture before we can digest a scrap. FWIW, I'm also a map person. Some
people don't need that. The stuff you find here are all just various tips
and tools, and what works for one, may not work for the next. Nothing on
USENET should be perceived as the red pill.
Plays Real Basses
> To: ALL,
<snip>
Nothing on
> USENET should be perceived as the red pill.
>
That's OK because I'm looking for the blue pill. No NO not *that* blue
pill.... ;)
--
> www.google.com <enter> <
> search<insert query here> <enter> <
> <
> avoiding newsgroup wiseasses.... PRICELESS. <
> <
> For some things there is usenet <
> For everything else there is google............. <
Mike Hanson
>
> Remember, we all learn in different ways.
This is a fact that is massively and constantly underappreciated, even
by those who ought to know better. I keep having to remind myself of it
in the classroom, and then I forget again...
Richard Feynman (Nobel-prize-winning physicist) described a rock-solid
demonstration of some of the different ways in which our heads work.
It's rock-solid in the sense that it's empirically testable: there's no
way to fake it.
What he did was, first, to count sixty seconds in his head and time how
long it took. Every time he did this, he averaged 48 seconds very
accurately (within a second either way). Having found his standard
rate, he then set about trying to find activities that would disrupt
it. He found that he could do almost anything - read and understand
text, count objects by arranging them in geometrical patterns - but the
one thing he absolutely could not do was talk and count at the same
time.
A friend of his didn't believe he could read and count, so he proved it
by reading a passage of text, saying "stop" exactly 48 seconds after
starting, and then describing what he'd just read. The friend in turn
tried the test and was able to talk (which Feynman couldn't do) but not
read. It turned out that Feynman was counting "aloud" in his head, but
the friend was "seeing" the numbers tick past. Neither of them could
read aloud because that would compromise both of their counting
methods.
So he tried to count by using a different sense - moving his fingers -
and that enabled him to read aloud, but when he tried to do it purely
mentally, without physically moving his fingers, he couldn't do it. (He
says that he's never met anybody who can).
So if we do something as simple as counting in such different ways then
what differences are there in the ways in which we learn, and in which
we understand and play music?
(The above story is related in the book "What Do *You* Care What Other
People Think?" by Richard P. Feynman, as told to Ralph Leighton, under
the chapter heading "It's as Simple as One, Two, Three...")
--
Mike.