EZ SCALE DIAGRAMS

Bumkneez

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If anyone is interested in obtaining downloadable, printable fretboard diagrams of scales here is the place to go: "guitarnuts.com/theory/scalemaker/scalemaker.php".
I wasn't able to get the images with IE, though they can be viewed in IE once saved to your puter.
I used Firefox -- Save As --- "web page complete".
There are 14 scales in 12 keys in any guitar tunning (6 strings--bass can use the lower 4), open thru 23rd fret!
If you don't specify "web page complete" the fretboard images don't download.
There is other info on the site, though the "scalemaker" seemed to be of interest to a larger audience.
 

Bumkneez

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No comments, but at least you are looking!
Here are some tips based on what I've learned about "Scalemaker."
Don't download the #/b scales, # + b's are only one fret away.
Just download the scales you want in the Key you play most often.
There are 5 scale patterns or fingerings for each scale based on the C Major (Ionian) scale.
Learn your "Modes" while learning your scales.
These patterns repeat every 12 frets.
If you know your Barre chords and your Fretboard, you've got it made!
The Root Note for the pattern (same as Barre chords) tells you what key you are in.
Learn the 5 Movable patterns in one key -- then play them in all 12 keys.
Do the same for each scale you want to learn. With a little practice we can all be on YouTube!
 

Jeff

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OK fine, wanna talk about scales, I'll tell ya what I learned today.

F# is the relative minor of A maj. So, someones playing along an A major progression & you don't know the Major scale pattern, I been playing minor scales for weeks & still have to think too much to change to Major.

i.e. playing an A maj chord at the 5th fret, Move down 4 frets to F# & play a minor blues pattern (pentatonic I think) & you walk right up a major blues scale right back to the A maj at the 5th fret.

Supposed to work in any major key, for now I'm taking my instructor's word for it & sticking to A & F#.

F # scale sure has some pretty notes played over A major chord progression.
 

Bumkneez

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Jeff,
Download the Pentatonic minor scale, it's probably the one you are working with, there is probably (not sure w/o checking) an F# pattern around the 5th fret that you can play your pattern in. As long as you are playing off the 5th fret as a base try playing your whole song in the 5th to 10th fret range. It's much more efficient than dropping down to the 1st fret and working your way back up.
Then once you've got it down in that range, move everything up to the 17th fret using the same exact fingerings.
By the way, if you are using IE as your browser, it should work. I have 2 disable some of my security on some sites 2 get it 2 work 4 me.
 

Bumkneez

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Some corrections and more tips.
IE will probably work w/o all the security I use on my system. Plus previous info was based on my altered tunings. The following is based on standard tuning and Major (Ionoian) scale patterns.
There are actually 7 3 fret fingering patterns. I recommend using the 5 patterns that have the ROOT note in the first of the 3 frets. These patterns are all movable so can be used for all 12 keys. I would learn these 5 patterns in ascending order: root on 6th string, 5th str, 4th str, etc.
You can play them from lo to high or from high to lo after you learn them. You can play the 7 notes (some notes may appear more than once in the pattern) in numerical order or any order that sounds good to you. (Nashville numbering?)
In every "5 fret group" you have "3 keys in each pattern" with "@ least 2 patterns available for each key" you are playing in.
How many 3+ note "Leads" can you create from the 7 notes available in each pattern?
Armed with this knowledge and the ability to use it every LTG'er can play GREAT LEAD GUITAR!
The patterns stay the same, only the Note numbers change!
E is the Root in key of E, 3rd in key of C, 5th in key of A.
 

JerryR

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This is all so technical - my brain hurts :shock: Can tell I'll never be a guitarist. Some songs I get away with 2 chords, most 3 - some have to use up to 6 - but all this scale patterns thing....and root notes...I'm totally lost :!: West, where are you - I need help :roll:
 

fronobulax

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JerryR said:
....and root notes...I'm totally lost :!: :roll:

That's why you should play with your friendly neighborhood Guild owning bassist. S/he can cover the root and you can do what you've always done. Or not.
 

Jeff

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fronobulax said:
JerryR said:
....and root notes...I'm totally lost :!: :roll:

That's why you should play with your friendly neighborhood Guild owning bassist. S/he can cover the root and you can do what you've always done. Or not.


Aha !!! So that's the trick. The more I learn the more everything is smoke & mirrors.

So I'm guessing the reason drummers are allowed is so we don't have to keep time.

The patterns stay the same, only the Note numbers change!
E is the Root in key of E, 3rd in key of C, 5th in key of A.

Note numbers ?? Seems to me in my simpleton ways, it doesn't matter too much using barre chords. Tis real handy knowing everything starts fresh at the 12th fret, so you're looking for a D root or pattern, back up two frets from the E at the 12th fret & let
er rip, or if you're looking for G go up three frets & do it there. "A" scales are up there another 2 frets. Shows up real quick when you miss but rings in nice when it's right.

Lately, after a couple thousand times I'm beginning to catch on & then Knees shows up & tells me there's more 5 or 6 more scales.
I think it best I ignore mixolydian & Ionian or whatever for a while yet. Unless I happen to stumble on one somehow.

Whatever, since I can't sing it's a bunch more fun than strumming chords.
 

Bumkneez

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Actually the more you understand what you are learning, the easier it gets. Working in your normally used key and learning one scale @ a time is an excellent approach. Mostly those other scales aren't used until you get into Jazz Modes. Most music gets by on just the Pentatonic + Blues scales. It's amazing the combinations that can be developed with 3 to 7 notes.
 

fronobulax

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Jeff said:
Aha !!! So that's the trick. The more I learn the more everything is smoke & mirrors.

So I'm guessing the reason drummers are allowed is so we don't have to keep time.

*snicker* <insert "drummer joke" here>

I read music and all of my gigs have been something where I am reading a bass line or a chord chart. (I don't get out very much). One of fun times was accompanying a children's choir. The guitarist could not play some of the changes fast enough and she realized the problem was getting the root of the chord. She played the chord without the root, which made it so she could keep up with the tempo, and made sure I was playing the root so the sound was right.

I regret that I did not study music theory when I was younger and had brain cells to spare. Now that I am trying to expand my improv skills, it is a lot of work to get from the intellectual knowledge that "it's an A maj chord" to "what note do I play here and now in the two beats before the chord changes to D maj". Give me time and maybe pencil and paper and I can do it but give me one beat to play it and that just proves I need to practice more.
 

Bumkneez

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Without a Bass player playing those Root notes steadily some of those drummers would have a "timing problem".
Barre chords depend on Root notes for location too. If Jeff is using both 6 + 5 string Barre chords, A + D are both @ the fifth fret + E7 @ the 7th, unless he uses the 1st position C7 @ the 5th for E7. All the relative minor scales in Pentatonic Minor have Patterns @ the 4th, 5th, or 8th frets enabling him to play all his chords and lead patterns in a 4-5 fret range. Besides being more efficient, less movement translates to more notes played in less time, if speed is required.
I've been unable to play this past year due to Carpral Tunnel + Ulnar Nerve problems, so have spent a lot of time with theory. I found one of the studies that had the most effect on my fretboard skills has been diagraming out the "Intervals" in relation to the fretboard locations.
Since I use altered tunning on both my Bass + Guitars I couldn't just read it in a book. It sure makes it easier to build chords + lead/bass patterns when you know where the Intervals are.
I'm not too familiar with the Guild model #'s, is your Bass solid or hollow body?
 

fronobulax

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Bumkneez said:
I'm not too familiar with the Guild model #'s, is your Bass solid or hollow body?

Both. :D
The Starfire is a double cutaway hollow body. The JS is a double cutaway solid body and the acoustic/electric B4E is a single cutaway (obviously) hollow body.

Some poor and disorganized pictures here.
 

Jeff

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I found one of the studies that had the most effect on my fretboard skills has been diagraming out the "Intervals" in relation to the fretboard locations

I'm beginning to fear Early stage Altzheimers, sort term memory issues.

I have the stuff figured out pretty well on the high E, B & G & can run up & down the fretboard OK there.

Coming across the fretboard, other than a couple spots is still causing me confusion, Darned stuff changes in different spots & be darned if I can remember.
 

Bumkneez

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Jeff,
Just to jog your memory -- Lo E + Hi E use the same notes on the same frets, so you only have 2 strings to relearn. Last I checked in standard tuning that would be A + D. Don't use std myself , so understand the confusion.
 

Bumkneez

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Fron,
Loved the pics. Nice collection. My Epi is similiar to your '67 Starfire. It's red is closer to my ES330's shade, a little brighter w/o the wood grain.
 

Jeff

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Had just a terrible session today, my short term memory is really scaring me.

I found these charts on line courtesy of Musicians Friend. I ain't going back for another lesson till I have this stuff memorized & part of my past.

Most everything I'm trying to learn is in these scales, I have the bottom & the top, but remembering the in between is driving me nuts.

http://www.theorylessons.com/pentpos.html

Em pentatonic scales

epentminor.jpg


epentpos.jpg


pentpos2.jpg
 

Bumkneez

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Jeff,

Try laying your Barre chord over the scale pattern + looking for the similarities + differences that "stand out" for you.

Just a suggestion that might help you "lock in" the patterns.

Have fun with them. Just noticed that those are 12 note patterns, not the 8 note ones I had referenced. Of course it's only 5 different notes! Gives you more options, just a little more complicated to learn.
 

Jeff

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Bumkneez said:
Jeff,

. Just noticed that those are 12 note patterns, not the 8 note ones I had referenced. Of course it's only 5 different notes! Gives you more options, just a little more complicated to learn.

Took me a while but I just about have it.

The 12 note patterns aren't necessarily the "advertised" Em scales either. Don't start on the root.
 

Bumkneez

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Jeff,
You can start a run on any note of the pattern, run lo to hi, or hi to lo, use any combination of notes -- usually 3-4 notes are enough, EX: 3 notes, repeat same, then add a 4th note.
You can use slides, hammer ons, + pull offs to give the run variety also. Use different length notes -- 1/8, 1/4, 1/2, even whole notes to change the accent.
Now you are really having fun!
 
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