Guitar Scales In Tablature Pdf

[Karmen Mcarthun]

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The major scale produces a clear and simple sound. If you're thinking in terms of modes, the major scale can also be called the Ionian modal scale; it's exactly the same scale. Think of it as learning two scales in one!

The above pattern can be used to play natural minor scales with any tonic note. The TABs below show it being used to play C and G natural minor scales. Click on the scale diagram or TABs to see more information on this scale.

The Mixolydian scale is often used to improvise over dominant seventh chords. It's also used in traditional folk melodies. You can find out more about improvising with Mixolydian scales here: Improvisation With Mixolydian Scale.

This section contains scales that aren't as widely-used as those in the previous section. Here you'll find scales that will give your solos an original sound that will really make you stand out from the crowd!

Locrian modal scales produce a strange, somewhat ambiguous sound. They are formed from the seventh degree of a major scale. They are one of the few guitar scales that fit over minor seventh flat 5 chords (m7b5).

The jazz minor scale is sometimes known in rock and jazz as the melodic minor, or the jazz melodic minor (it's the same as the ascending form of the melodic minor scale in classical music theory). It produces interesting, jazz-like sounds over minor chords.

The double harmonic guitar scale is one of several scales known as the Arabic scale. (You can see more on this page: Arabic Scales.) Use it to introduce an exotic, 'Middle Eastern' sound into your solos.

Every note in a whole tone scale is the same distance from its neighbor (as the name suggests, the interval between each note is a whole tone, or whole step). For this reason any of the notes in the scale pattern below could potentially be a tonic note (because, for example, a C whole tone scale contains the same notes as a D whole tone scale).

When an altered scale is played over a dominant chord with the same root note (i.e. when a G altered scale is played over a G dominant chord) it produces every possible altered note. For this reason the altered scale is often used by jazz musicians, who exploit the 'tensions' produced by the altered notes.

The intervals between the notes of a diminished scale alternate between whole and half steps. Diminished scales are 'octatonic', which means that they contain eight notes per octave (by contrast 'normal' scales such as the major and harmonic minor are 'heptatonic'; i.e. they contain 7 notes per octave).

Diminished scales can be used to solo over diminished chords. They can also be used to solo over dominant chords, by playing the scale with the root a half-step higher than the chord. The resulting tensions create jazzy sounding lines.

The Lydian augmented scale is a Lydian scale with a raised fifth. It can be used to create interesting lines over augmented chords. The scale can also be used to create tension-filled lines over other altered chords by using the scale with its root a major third above the root of the chord.

Scale diagrams show us the 'shapes' that the scales make on the fretboard. If the shape of a scale is learned for a particular scale, then that same shape can be played elsewhere on the fretboard to produce the same type of scale in a different key.

For example, if you know where your fingers should go (i.e. the scale 'shape' as shown on a scale diagram) to play a G major scale starting on the third fret of the sixth string, you could play a C major scale at the eighth fret using the same shape. Just move your hand up (closer to you) five frets.

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Download our lead guitar cheat-sheet to make things easierIt's hard to understand which scales work with which keys.So we created a cheat-sheet! A key and scale-finder that you can use again and again.

For the song Sex Machine in E7/9 which scales would you use and can you show how to apply them in audio examples?

Generally when playing quick in 16th note timing I always tend to lose the plectrum. Do you hold the pick really tightly or what can be done to avoid this from happening?

Cheers
Tom
Scales & Licks for Funk SoloingAh, this one never gets old...



The original is actually in Eb, so Jimmy Nolen is playing an Eb9 chord for the first section.

When thinking about scales, approach it just like you would the I chord in major key blues.

So the most obvious choice is to use minor pentatonic and its blues variation (minor pentatonic with a b5) as a base for your solo.

Over Eb9, we'll be positioning this at the 11th fret...



Combine this with the tones from major pentatonic in the same position (so the 1 note is again at the 11th fret) and you have a good pot of tones around which to build your funky phrases...



Let's look at funky ways in which we could combine these two scales.

If you skip to 1:03 on the original track, you can hear the keys playing a nifty little pentatonic-led phrase.

You can create something similar on guitar using double stops (click the tabs to hear examples)...



Also try adding in the major 3rd occasionally...



Note: I have a lesson on using minor and major pentatonic together that you might find useful.

Another major/minor combo that makes use of that bluesy b5 tone...



What's interesting is you could also approach this Eb9 chord as if it were the IV chord.

All this means is we play minor (just minor this time) pentatonic on the root of Bb, an interval of a perfect 5th below Eb. That's the 6th fret.

If you visualise the Eb9 chord, here's how the pattern would look in relation to that chord position...





We can use the same b5 variation in this position...



Now for something a little jazzier...

To get more of an "outside" sound, try using Lydian dominant in the root (Eb) position, which is basically the Mixolydian scale with a #4...



This should give you some more unpredictable variations over dominant 7th and 9th chords...


16th Note Funk PickingYou mentioned losing the pick when playing 16th notes. This used to happen to me a lot and there were two solutions for this:

1) Get a lighter pick. I now use .46mm (very light by most players' standards). I find the lighter picks flex over the strings with less obstruction, so there's less chance of jolting the pick out of your fingers.

The only drawback is you lose a bit of that biting tone you get with thicker picks, but it's a reasonable trade off.

2) Use a pick with some kind of grip. Dunlop picks do the job for me, as the raised writing and mesh provide extra grip.

Before I was using a very smooth plastic pick, but switching to a nylon pick with raised grip helped tremendously.

Scales for bass guitar with diagrams and explanation.
What follows is a guide trough different scale categories for bass players. The fingerboard diagrams are based on standard tuning (EADG). See other tunings for 5-string bass below.

As long as you stick with the standard tuning (EADG), the scales for bass will be "same" as for the guitar. The shapes can, however, differ since four strings instead of six are involved. One-octave shapes will often be the same, but not two-octave shapes. The four-stringed bass are normally stringed as the for lowest (thickest) strings on the guitar.

See also The Bass Scale Collection eBook for graphical overviews of scales in all keys in different categories.

The scale categories covered so far are Major, Natural Minor, Melodic Minor, Harmonic Minor, Major Pentatonic, Minor Pentatonic and the modal scales. More categories will be included in coming updates.

Have you ever wondered how to get the sound of metal guitar players such as MartyFriedman (Megadeth), Kirk Hamett (Metallica), or Randy Rhoads (Ozzy Osbourne)? If you evergot a look at the solos that these and other players perform, you will have noticed that thesepeople use more than the blues/pentatonic scale. You may have wondered what scales theseguitarists are using. If so, keep reading.

I have seen many players who try to style themselves as metal players, but the only thingthat they can play are sped-up blues licks. While these licks may sound good every now andthen, they grow old pretty fast and certainly do not make you sound original. If your approachto a metal solo is to use the pentatonic/blues scale, after a while all your solos will start to soundalike.

The first time you are introduced to new scales, it may feel scary or discouraging to have tolearn them. After all, you might either be familiar with the blues/pentatonic scale, or justplaying by ear, and new patterns to learn seem a lot of work. I felt the same way when I was firstexposed to new scales, and I can give you the good news: it is nowhere as difficult to learn newscales as it seems to you right now. Let me show you how to learn a new scale in an easy, fun,and effective way.

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