Harmonized Guitar Scales Pdf

[Jacinda Saleeby]

Harmonizing a scale is the bedrock of chord theory. It sets the rules that are held to almost unbreakable standards. Most chord progressions in songs you hear in your favorite songs have their foundation rooted in the harmonized major scale.

You now have a harmonized scale and you can clearly see each layer of harmony for the C Major scale. This little chart is incredibly powerful and we will build on this in several ways as we study chords and scales.

Also check out this video from Andrew at Creative Guitar Studio for a great explanation of intervals. One of the best theory teachers around. It will come in super handy as we start to squeeze some use out of the harmony chart we just created.

Since we looked at this with the C Major scale, take a minute and go through the 4 steps using the A Major scale. When you can derive each of the chords belonging to a given key, take a minute and congratulate yourself. This is no small accomplishment!

The harmonized major scale is a series of seven chords that play the major scale in harmony starting from the root chord. The root, IV, and V chords of the scale are major chords. The ii, iii, and vi chords of the scale are minor. Finally, the vii(dim) chord is diminished.

From your knowledge of the notes of the guitar fretboard, you know that the 4th degree note sits on the A string at the same fret as the root note on the E string. And you also know that you need only move two frets up from the 4th to find the 5th degree note.

So, the pattern identifies the notes that serve as the root notes of the I, IV, and V chords of the harmonized major scale. And these chords are all major chords. See how this little pattern nicely groups the three major chords together for you?

You also know that to find the relative minor of a major key, you just move three frets down from the root note. So, if your major-key root note sits at fret 10 of the Low E string, then you know you can quickly find the 6th scale degree note at fret 7 of the same string.

An extremely simple pattern helps you quickly and easily identify each of the seven chords on your guitar fretboard. This pattern groups the three major chords together. You can then move the pattern to find the three minor chords and the diminished cord, which are also grouped together.

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Few things scare off rock guitarists more than dreaded music theory, but to make sense of this topic we need to get a few terms out there for beginners. The two main concepts you need to grasp are scales and intervals.

Below I have included a harmonized guitar line over a pretty basic backing track. For the first example I recorded two separate guitar tracks and then mixed them together. For the second example, I used the same amp and effects settings, but harmonized using the TC pedal.

While I liked both of the results I got using the same guitar, I thought I would try switching things up to see what other of tones we could get. For this next audio sample, I played the same parts, but I performed the upper harmony on my G&L S-500, and the lower one on my PRS SE Custom 22 semi-hollow. One of the advantages of harmonizing guitars is being able to really blend together two unique guitar tones to get a much thicker sounding melody.

While it may be easy for pianos to pull off dissonant chords with a lot of notes in close proximity, this can be much harder to achieve with guitar. Using a pedal, or splitting up notes between two guitar parts are a great way to build denser chords with more character.

While the example above helped to create a tighter and thicker sounding chord voicing, you can also use this technique to create something more open and spacious. For this next sample, I set the pedal to harmonize a 5th above while playing some bigger chords. I also dialed in some chorus on my Walrus Audio Julia pedal, as well as some delay from the Avalanche Run.

While most of the examples above dealt with fixed intervals, harmonized guitar parts will often feature changing intervals throughout. Maybe they will start out close in thirds and then open up into a more open voicing, or even move into playing separate ideas.

In this next sample, I used part of a song I was working on that uses all of these ideas. The melody is in C Dorian (C, D, Eb, F, G, A, Bb, C) and the harmony starts out playing a third above, and then opens to a 4th at the end of the first two phrases. Toward the end, it opens up to a call-and-response between the two guitars, and then they end in harmony.

As a member of the Customer Advocate team, Matt helps zZounds customers resolve any problems they might have. Matt first took up saxophone in 2003 and two years later, began learning guitar. Today, he's a solo musician and producer, with a cherished collection of guitars, basses, and pedals. Outside of work and music, Matt is a hiking and biking enthusiast.

I believe the bulk of the song is A and the solo modulates to D.

Not sure of your meaning, but you wouldn't want to use different scales for each guitar. Different scale degrees for the harmonizer, sure. But one guitar with (potentially) two voices added to comprise the whole thing. A 4th below/3rd above sounds correct. Except the 3rd above is Gregg's organ, no? Also.....it's the Allman Brothers. They did what felt right a the time, so nothing will be 100%.

Check out the version on Songsterr: =jessica

These aren't always 100%, but this one is pretty good. You can switch between Dickey, Duane and Gregg's parts to see how they overlap.

I have utilised user scales on a couple of songs, but sometimes you have to accept that a patch change is needed a some point in a solo. Alternatively I have made the singer pick up his guitar and play the extra part!

If you play the part that starts with a E, the lower part can be created using -3rd, and the higher part using +6, with the key set to D(Bm). But, at the end of the second line, the lower part resolves to a -4th below the melody A, instead of a -3rd below the earlier melody note A. If you play a D at the end of that line instead of the A, the chord will resolve, admittedly at a different inversion than on the record.

BTW - try the harmony settings I detailed above, using single notes and a slide. If you play D Major scale lines, It starts to sound more than a little like a pedal steel. And, even more like Spongebob Squarepants.

I have decide to go with just adding the third above. I also found out that by putting the Harmonic Pitch in in the X block, I can pan the harmonies right or left. Since my PA is stereo, I can soft pan the harmony to one side or the other.

That part you mention is in the middle of the first phrase where Dickie bends the E string at the 10th fret up to E. Until I made step 7 +5, (It was a +4) the harmony note produced was an high Ab, when the original recording had a high A harmony. When I changed it to +5, I got the high A.

The V chord is borrowed from the harmonic and melodic minor harmonization. Instead of it being a minor 7 (like it would be if it were a natural minor scale) it is turned into a dominant 7 chord. Why? The V chord in traditional harmony is almost always a dominant 7 chord, never a minor 7 chord. The V often resolves to the I chord and therefore the V in the harmonic and melodic minor is appropriate in this case.

Where this becomes complicated, is that the other chords in the series do not contain an A natural. When harmonized with 7th chords, the Ab is present. So consider the vi(b5) and the V chord exceptions.

If you go through each one of these chords and identify the intervals in relation to the root, you would find that they spell out each chord quality listed. If you are unsure how to spell some of these chords, I suggest checking out this jazz chords guide.

Now we are taking the b6 and b7 in the natural minor scale and making them major. Essentially the only difference between a melodic minor scale and a major scale is that quality defining b3. Take a look:

Knowing how to harmonize these minor scales can be really handy for your compositional skills, as well as using this harmonic knowledge to apply in your improvisation. Try playing around with these harmonized minor chords in your practicing this week and see what kinds of ideas you can create.

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