Easy Guitar Scales and Modes

Your stress free guide to learning guitar scales and modes.

Published By: mattwarnockguitar.com

Copyright © 2017 Matt Warnock

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Table of Contents Get Your Audio FilesGlossary of TermsHow to Use This eBookIntroduction to Guitar ScalesEasy Guitar Scale SystemScales vs. ModesMinor Pentatonic/Blues ScalesMajor Pentatonic/Blues ScalesMajor Scale Practice GuideMajor ScaleDorian ModePhrygian ModeLydian ModeMixolydian ModeAeolian ModeLocrian ModeMelodic Minor Practice GuideMelodic Minor ScaleMelodic Minor Mode 2Lydian Augmented ScaleLydian Dominant ScaleMelodic Minor Mode 5Melodic Minor Mode 6Altered ScaleOther Common ScalesHarmonic Minor ScalePhrygian DominantHarmonic Major ScaleHarmonic Major Mode 5

Symmetrical ScalesWhole Tone ScaleWhole Half Diminished ScaleHalf Whole Diminished ScaleAbout the Author

Get Your Audio Files Welcome to Easy Guitar Scales and Modes, great to have you here! The audio examples and backing tracks for this book are available todownload from http://mattwarnockguitar.com/scales-audio. I recommend that you download the mp3 files to your computer first, and thendrag them to your phone, tablet, or other device from there. If you don’t have a computer, no worries, just email me at my contact page andI’ll be glad to sort out the audio files for you. As well, feel free to send me an email on my contact page if you have anyquestions about the material in this book. I’m glad to help you out any way I can with your journey to learning guitarscales. Have fun with this book. Now, on to learning easy guitar scales and modes! Cheers,Matt

Glossary of Terms Music has a language all its own. To help you understand the material in thisbook, here are common musical terms and definitions. Fingering – Term used to describe a scale shape on the fretboard. Half Steps – One fret on the guitar, the distance between two chromatic notes,C-C# for example. Improvisation – Using musical devices such as scales and modes to createmusic in the moment without predetermined ideas. Interval – The distance between two notes, C-D, A-Bb, F-D, for example. Mode – A scale-type device that is built by playing a parent scale from anynote besides the tonic note. Scale – A musical device that contains 5 or more notes, in this eBook, andoutlines a particular sound such as maj7, m7, m7b5, etc. String Set – A collection of strings that are used when playing a scale or mode,such as 654, 5432, or 54321. Symmetrical Scales – Scales that are built by running one or a combination ofthe same interval, such as whole steps or half steps. Tonic – The main chord of a key, for example in C the tonic chord is Cmaj7. Whole Steps – Two frets on the guitar, the distance between three chromaticnotes, C-D for example.

How to Use This eBookBefore diving into this eBook, here is a brief outline of what’s contained in thisvolume and how to effectively learn this material. The main goal of this material is to teach you essential and commonly usedscales and modes in the quickest and easiest way possible. To do this, the fingerings are presented in one and two-octave positions withinan easy to learn system, explained in the next few chapters. As well, at the start of each section (major modes, melodic minor modes, andother scales), there’s a quick guide to learning those fingerings. This information teaches you the absolute quickest way to learn thescales/modes in that section. But, that quick route isn’t for everyone. So, if you read the intro text in a section and it doesn’t click with you, not toworry. Continue to each individual mode in that section and learn the shapes that way. This eBook is written to give you a very quick formula for every mode group,as well as a quick formula for each individual scale/mode. Whatever gets those shapes under your fingers is the best way to go. Explore both in your studies and then go with what works best for you at thisstage in your musical development. As well, there’s information for each scale/mode included above thosefingerings to teach you how each mode/scale is built and used.

Here are those terms and what they mean so you can quickly absorb thatinformation when you encounter it with each scale/mode.

Scale and Mode Elements Defined

Interval Pattern – Intervals used to build this scale.Used Over – Common chords you can solo over with this scale.Characteristic Note – Note that makes this mode sound unique.Genres – Common genres that use this mode.

This tells you the intervals, how to solo with those notes, what makes thosenotes sound unique, and what genres use that mode/scale. Everything you need to quickly understand the background for that scale/modeand how to use it in your playing. But, while this information is helpful, the main goal of this eBook is to teachyou the easiest way to learn scale/mode fingerings on guitar. Because that’s the main goal, most of the material in this eBook is aimed atachieving that objective in your playing. So, when working on this material, keep in mind that this is a scale fingeringsystem, rather than an improvisational guide. Now that you know the goals of this eBook, you can learn more about scalesand modes and how they’re used in modern music.

Introduction to Scales and ModesWhen learning how to solo on guitar, the first items you encounter are scalesand modes. Whether it’s the pentatonic scale, or Mixolydian mode, these melodic devicesare essential for learning the fretboard and improvising. But, what exactly are guitar scales? Guitar scales are groups of notes that outline a specific key center, mode, orchord color. Scales function in a similar way to arpeggios, but they include notes beyondchord tones, while arpeggios are built with only chord tones. Here’s an example of a C major scale and Cmaj7 arpeggio to see how theyboth contain similar notes, but the arpeggio is more spread out. This is because arpeggios use only chord tones and scales use all the notespossible in that given key or mode. Audio Example 1

Now that you know what guitar scales are, look into the three types of scalesthat are covered in this eBook.

Pentatonic and Blues Scales The first groups of scales explored in this eBook are pentatonic and bluesscales. These scales don’t produce modes, and contain larger intervals than the otherscales covered in this eBook. Here’s an example of an A minor pentatonic scale. Notice that there are a number of m3rd intervals, more than you see in anyother scale or mode in this eBook. Audio Example 2

Since they have larger skips, and are more versatile when soloing than otherscales, these are the scales guitarists often learn first. Because of this, these scales are covered first in detail at the start of thiseBook.

Mode Producing Scales The second group of scales in this eBook is divided into two sections, parentscales and modes. Parent scales are 7-note scales, such as major, melodic minor, and harmonicminor, that produce modes. Modes are scales that are built by playing parent scales from notes other thanthe tonic note. An example of a parent scale is the G major scale below. Audio Example 3

If you were to play this same scale, G major, from the note A, you have thesame notes, but you create the mode A Dorian. If you play the same scale, G major, from the note B, you create the mode BPhrygian. Each time you start the parent scale on a different note, you create a newinterval pattern, and therefore a new mode. As you work your way through this eBook, and read elsewhere, the terms modeand scale are often interchangeable.

They have different meanings, as you just learned, but in casual conversationthey can often be interchangeable. An example of this is the 3rd mode of melodic minor also being called theLydian augmented scale. It’s technically a mode, but it’s also called a scale in conversation. Just know that even though there are very strict definitions of scales andmodes, those terms aren’t always used that strictly in conversations.

Symmetrical Scales As well as learning scales that produce modes, and pentatonic/blues scales,you learn symmetrical scales in this eBook. Symmetrical scales use a symmetrical interval pattern, and don’t producemodes like major and melodic minor scales do, for example. An example of a symmetrical scale is the diminished scale, which you can seebelow. Notice that this scale is built by alternating whole and half steps, which is howthis scale gets it’s name, the whole half diminished scale. Because it contains 8 notes, you use two letter names twice, Ab and A in thiscase, which you don’t do with non-symmetrical scales. Symmetrical shapes are covered in the final section of this eBook in moredetail. Audio Example 4

Now that you know the three types of guitar scales covered in this eBook, learnabout the easy guitar system in the next section.

Easy Guitar Scale SystemLearning scales on guitar is fun, gives you material to solo with, and helps youunderstand the fretboard. But, it can also be time consuming, frustrating, and prevent you from makingmusic as you spend time memorizing shapes and not soloing. This is where the easy guitar scale system helps you become more efficient andeffective in your scale practice routine. Before looking at the easy guitar scale system, take a look at a typical majorscale and how it’s laid out on the fretboard. Here’s one of the most common two-octave, position shapes for the G majorscale. On it’s own it’s not a bad scale shape to learn. The fingering makes sense, andit covers every string. But, when you take it to other positions the frustration begins. Audio Example 5

Normally, once you learn a two-octave scale shape you take it to a secondposition on the guitar.

This is where that system falls apart, you have to learn a whole new fingeringto move that scale around the neck. The work you’ve done up to this point is there, but you have to add a newfingering, which may or may not be intuitive. Here’s how that same G major scale looks from the 5th string, it’s somewhatsimilar to the previous shape, but not that similar. Audio Example 6

The easy guitar scale system prevents you from wasting time learning unrelatedshapes when taking scales around the fretboard. Rather than use big, two-octave shapes right away, that don’t have setfingerings, this eBook start with one-octave shapes. One-octave scales are easy to learn, quick to memorize, and can be combinedto form two-octave shapes without learning anything new. Here’s an example of a G major one-octave scale on the 6th string. The fingering is written below each note in the notation, and above each notein the tab for easy reference.

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Now, here’s that same G major scale on the 5th-string root note. Notice that the fretting-hand fingering is the same, 24-124-134. Because of this, if you know a major scale on the 6th string, you already now iton the 5th string, and later the 4th string. Pretty easy right? The only hiccup you encounter with this fingering system is with the tuning ofthe 2nd string. But, that tuning is dealt with as you encounter it throughout the eBook. Audio Example 8

Once you learn the four, one-octave fingerings, you combine them to form two-octave scales. This prevents you from having to learn new shapes when you want to learn anduse longer scales on the guitar. Here’s an example of the 6th and 4th-string one-octave G major scalescombined to form a two-octave G major fingering. Audio Example 9

As you can see, you don’t have to learn anything new to create this longerscale; you just combine two shapes you already know. This saves time and energy in the practice room and takes you frommemorizing shapes to soloing faster in your playing. To recap this system, here are the main points to keep in mind.

1. One-octave shapes are quick and easy to learn.2. These shapes use the same, or similar, fingering on each string set.3. These shapes are easily combined to form two-octave scales.

Scales vs. ModesThough it was touched upon in a previous section, it’s worth exploring thedifference between scales and modes a bit further. First, look at a C major scale, written with the whole and half steps betweeneach note as a refresher from previous material. When creating this scale, you build the intervals R-2-3-4-5-6-7, as well as theinterval structure WWHWWWH. Audio Example 10

Now that you have the parent scale, C major in this case, you can use that scaleto build modes. Here’s how a mode is built, you take the major scale above and play it fromthe 2nd note, in this case playing C major from D to D. When doing so, you change the interval structure of the notes, creating a newsound, which you call Dorian. Here are the notes for C major and D Dorian to compare; they’re the same, justdifferent order. C major = C D E F G A B

D Dorian = D E F G A B C The real difference is the intervals of those two melodic devices. C major = R 2 3 4 5 6 7D Dorian = R 2 b3 4 5 6 b7 As you can see, when playing C major from D to D, you create b3 and b7intervals, giving Dorian a minor sound, compared to the major scale. Here’s how those two look on the staff. Audio Example 11

To recap, scales and modes are used in a similar way when soloing, to outlinechords and key centers. Modes contain the same notes as their parent scale, but have a differentinterval pattern. Because of this, modes create new sounds to explore in your solos comparedto the parent scale they’re derived from.

Minor Pentatonic/Blues ScalesThe first scales in this eBook are the first scales that most guitarists learn, theminor pentatonic and minor blues scale. Because they’re closely related, they’re written as one scale in the fingeringsbelow. To play the minor pentatonic scale, leave out the note in blue. Then, to play the minor blues scale, play all the notes written in the tab. As the minor blues scale is the minor pentatonic scale with the b5 intervaladded it’s good to see them related on the fretboard. This allows you to easily move between these essential sounds in your solos,riffs, and songwriting. If you’ve learned these scales in the past, you probably checked out the 5 “boxpatterns” that are usually taught for these scales. If so, these shapes are a good introduction to the scale system used in thisbook, which as you learned is based on one-octave shapes. Over time, you’ll mix the boxes you learned with these fingerings in yourplaying, which is totally fine. But for now, work on this new fingering system as it sets you up to study thelonger, modal scales in the rest of this eBook. If you’re new to these scales, great, they’re the best place to start whenbeginning with this scale fingering system in the practice room.

Minor Pentatonic and Minor Blues Scale Elements

Interval Pattern – R-b3-4-5-b7 and R-b3-4-b5-5-b7Used Over – Any chord (major, minor, maj7, 7, m7, m7b5, etc.)Characteristic Note – b5 (blues note)Genres – All - Blues, Rock, Jazz, Funk, Soul, etc.

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Major Pentatonic/Blues ScalesBesides the minor pentatonic and blues scales, guitarists often learn majorpentatonic and blues scales when studying improvisation. Below are the one and two-octave fingerings for major pentatonic and majorblues scales. Since they’re so closely related, they’re written on top of each other. To play the major pentatonic scale, avoid the note written in blue. Then, to play the major blues scale, play all of the notes written in the tab,including the blue note. The major blues scale is built by adding a b3 interval to the major pentatonicscale, which you can see below. If you learned the “box patterns” for these scales already, these fingerings are acompanion to those shapes. If you’re new to these scales, great, they push you further into the study of thefingering system used in this eBook. Notice that the 3rd-string fingering is different from the rest; it begins on thefirst finger rather than the second finger. This is because the 2nd string is tuned differently, so major based modes,modes with a major 3rd, have a different fingering on the 3rd string. This is the first example of this fingering in this eBook, and you see it comeback for every other major-based mode going forward.

Major Pentatonic and Major Blues Scale Elements

Interval Pattern – R-2-3-5-6 and R-2-b3-3-5-6Used Over – Major, maj7, maj6, maj9, 7, 9, and 13Characteristic Note – b3 (blues note)Genres – Many, including Blues, Rock, Country, and Jazz

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Major Scale Practice Guide When practicing modes of the major scale, learn them in the order they appearin the scale, Ionian, Dorian, Phrygian, etc. Then, when you’ve learned them all, bring them together in your studies andpractice them from the “brightest” to “darkest” sounding modes. When doing so, you begin with Lydian and alter one note at a time to form all 7major modes. This helps you see how every mode relates to the other major modes on thefretboard. And, it gets you away from only thinking of modes in the order they appear inthe key, which can cause confusion for some players. The “brightest” mode is Lydian, because it has the most #’s in the key of C, andthe “darkest” mode is Locrian, because it has the most b’s. Here’s the order to practice all major modes when you have them under yourfingers. These examples use a single one-octave fingering for each mode. After you get the hang of the exercise work the other fingerings in the sameway. The note in red is the note that’s altered from the previous mode to form thecurrent mode. For example, when you play Lydian, you lower the 4th note by one fret to buildIonian.

Then, you lower the 7th of Ionian to form Mixolydian, and so forth. Audio Example 24 - Lydian

Audio Example 25 - Ionian

Audio Example 26 - Mixolydian

Audio Example 27 - Dorian

Audio Example 28 - Aeolian

Audio Example 29 - Phrygian

Audio Example 30 - Locrian

Major ScaleThe Ionian mode, otherwise known as the major scale, is the first mode in themajor scale system. When learning this scale, you use the fingerings 24/124/134, with the exceptionof the 3rd-string root scale. Because the B string is tuned differently, you begin that fingering with your 13fingers. You do this in both the one-octave shape, and the two-octave combined shapefor this mode. As with all other major-based modes, modes with a major 3rd interval, the 3rd-string fingering is altered compared to the other fingerings. The major scale introduces you to this fingering in a mode context, whichprepares you to learn similar modes the same way.

Major Scale Elements

Interval Pattern – R-2-3-4-5-6-7Used Over – Major, maj7, maj6, and maj9Characteristic Note – 4thGenres – Many including Rock, Classical, Jazz, Pop, etc.

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Dorian ModeThe first minor mode in the major system, Dorian, is found in many musicalstyles and is essential learning for any improvising guitarist. The fingering pattern for Dorian is 134/13/124, and because it’s a minor basedmode, you don’t change the fingering on the 3rd string. Being the second mode of the major scale, a C Dorian mode has the same notesas the Bb major scale, just running from C to C. If that’s confusing, not to worry, just know that Dorian is used to solo overminor family chords when you want a brighter sound than Aeolian. There’s also a fingering alteration when you get to the 3rd-string root, becauseof the tuning of the B string. This doesn’t happen in all minor-based modes, as it does with major-basedmodes, so just be aware of it when working on Dorian. If you prefer, you can use the fingering 134/13/124 on the 3rd-string fingering tokeep things unified. Try both and see which one you prefer then go forward from there.

Dorian Mode Elements

Interval Pattern – R-2-b3-4-5-6-b7Used Over – Minor, m7, m6, m9, and m11Characteristic Note – 6thGenres – Jazz, Fusion, Classical, and Rock

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Phrygian ModePhrygian, the 3rd mode of the major system is a bit of a chameleon mode as itfits over both m7 and 7th chords in your solos. When used over m7 chords, you bring a Flamenco-influenced sound to yourlines, as the b2 builds tension in your lines. Then, you can use the same scale over 7th chords, where you create a 7sus4altsound. Jazzers like John Coltrane explored Phrygian over 7th chords in their solos togreat effect. On the other side, players like Al Di Meola and Paco De Lucia used Phrygianover m7 chords to build memorable lines. Try both approaches out and see what you think. You may like both and use both in your solos, or you may prefer one over theother, whatever works for your ears is cool. With the 4th-string fingering, there’s an alteration because of the B string. There, you use 2-4 fingers on the 2nd string, compared to 1-3 on the other stringsets. If you prefer to keep things unified, you can use your 1-3 fingers for those notesno problem. Try both and see what you think.

Phrygian Mode Elements

Interval Pattern – R-b2-b3-4-5-b6-b7Used Over – m7 and 7th chordsCharacteristic Note – b2Genres – Flamenco, Jazz, Rock, and Classical

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Lydian ModeUsed as a “brighter” option that Ionian over major-based chords, Lydian’s #4interval creates a cool sound to explore in your solos. While the #4 sounds unique compared to Ionian, it creates tension that needs tobe addressed in your solos. Experiment with that note to see how you want to deal with it, and moreimportantly, experiment with resolving that tension in your lines. Lastly, because it has a major 3rd, the 3rd-string position begins on your firstfinger, compared to your second finger with the other string sets.

Lydian Mode Elements

Interval Pattern – R-2-3-#4-5-6-7Used Over – Major, maj7, maj6, maj9, and maj7#11Characteristic Note – #4Genres – Jazz, Rock, Fusion, and Classical

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Mixolydian ModeThe third and final major-based mode in the major system, Mixolydian is afavorite mode of country, rock, and jazz guitarists. When mixed with the blues scales, both major and minor, Mixolydian createsinteresting and engaging lines over major and 7th chords. Again, because it has a major 3rd interval, the 3rd-string position begins withyour index finger, compared to your middle finger elsewhere.

Mixolydian Mode Elements

Interval Pattern – R-2-3-4-5-6-b7Used Over – Major, 7th, 9th, and 13thCharacteristic Note – b7Genres – Country, Rock, Blues, Classical, and Jazz

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Aeolian ModeKnown as the natural minor or relative minor scale, Aeolian is a favoriteminor mode for rock, metal, and pop guitarists. With a darker sound compared to Dorian, Aeolian sometimes makes anappearance in jazz, but not as much as in other genres. Because of the 2nd-string tuning, the 4th-string root shape uses a differentfingering for the top-2 notes, 24 compared to 13. If you want to keep the fingerings unified, you can use 13 on those top notes noproblem. Try both fingerings out and go with what feels most comfortable to you.

Aeolian Mode Elements

Interval Pattern – R-2-b3-4-5-b6-b7Used Over – Minor, m7, m9, and m11Characteristic Note – b6Genres – Rock, Blues, Classical, Pop, and Jazz

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Locrian ModeThe final major mode, Locrian, is found mostly in jazz and fusion music, but itcan be applied elsewhere as well. Because it’s used over m7b5 and m11b5 chords, you won’t see it often in popor rock music. But, that doesn’t mean it’s not worth studying, as this mode will get you out ofa tight spot when you do see those chords in a song. As was the case with the other minor-based modes, the 4th-string fingering isaltered for the last two notes to accommodate the 2nd string. Try the fingering below, and then switch it up to 1-3 fingers if you aren’tcomfortable with 2-4. Then, go forward with the one that feels best to you.

Locrian Mode Elements

Interval Pattern – R-b2-b3-4-b5-b6-b7Used Over – m7b5 and m11b5 chordsCharacteristic Note – b5Genres – Jazz, Fusion, and Classical

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Melodic Minor Practice GuideAs you move from major modes to the melodic minor family, the easiest way tolearn these new modes is to compare them to the 7 major modes. When doing so, you take all 7 major modes, lower one now in each mode, andyou have all 7 melodic minor modes on the guitar. Below you learn all 7 melodic minor modes, but you can also build them byaltering notes in major modes you already know. Here’s how you do that, by playing a major mode fingering, such as Ionian, andthen lowering one note by one fret, the 3rd in this case. Here are all 7 major modes with their melodic minor counterparts so you cansee how this fingering system works. The note in red is the note that’s altered from a major mode to form eachmelodic minor mode. If you prefer this method of learning melodic minor scales, take each majormode fingering and lower these notes to build the new fingerings. But, if you don’t prefer this method, not to worry, skip to the melodic minormode sections below to learn those fingerings separately. As a quick reference, here are the notes that you lower in each major mode toform the relative melodic minor mode on guitar.

Ionian – lower 3rd to form melodic minorDorian – lower 2nd to form melodic minor mode 2Phrygian – lower root to form Lydian augmented scaleLydian – lower 7th to form Lydian dominant scaleMixolydian – lower 6th to form melodic minor mode 5Aeolian – lower 5th to form melodic minor mode 6

Locrian – lower 4th to form the altered scale Audio Example 73

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Melodic Minor ScaleThe first melodic minor mode uses the same fingering no matter what string setyou’re on. This is different from the major modes, which had fingering changes becauseof the 2nd-string tuning. Because the fingerings are always the same, melodic minor can be easier tolearn and memorize then the major modes you already know. This mode can be used to solo over minor family chords, but it creates tensionwith the major 7th interval. When soloing with melodic minor, you need to address the maj7 in your lines,resolving it so it sounds hip and not like a mistake in your playing.

Melodic Minor Elements

Interval Pattern – R-2-b3-4-5-6-7Used Over – Minor, m6, and mMaj7Characteristic Note – 7Genres – Jazz, Fusion, and Classical

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Melodic Minor Mode 2The second mode of melodic minor is a rarely used mode, but one that’s worthlearning to cover the fretboard when soloing with melodic minor. Again, you use the same fingerings for every shape, as compared to the majorscale modes you learned earlier. Though this mode has a m3rd interval, it’s normally used to solo over dominant7th chords, bringing a 7sus4alt sound to your phrases. While you might not use this mode that often, it’s worth checking out to seehow you can bring it into your playing.

Melodic Minor Mode 2 Elements

Interval Pattern – R-b2-b3-4-5-6-b7Used Over – 7sus, 13sus, 7b9sus, and 13b9susCharacteristic Note – 6 (13)Genres – Jazz and Fusion

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Lydian Augmented Scale The third mode of melodic minor is also known as the Lydian augmented scale,as it’s like Lydian with a #5 interval. There are two fingering items to look at when learning this mode. The first, because it’s a major-based mode, you change the fingering on the 3rd-string root due to the tuning of the 2nd string. Then, you use 1-2-4 on the second string of each one-octave shape, but you putspace between each note, which you haven’t done before. This creates a stretch that you have to navigate when learning this mode on thefretboard. Because of this stretch, begin by playing this mode higher up the fretboard,where the frets are closer, and mode down from there. Eventually you’ll play the stretches with ease in the lower frets by approachingthis mode in this manner.

Lydian Augmented Scale Elements

Interval Pattern – R-2-3-#4-#5-6-7Used Over – Maj7, Maj7#11, and Maj7#5Characteristic Note – #5Genres – Jazz and Fusion

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Lydian Dominant ScaleThe most popular melodic minor mode, besides the melodic minor scale itself,Lydian dominant is used over 7th chords to create the 7#11 sound. Again, it’s got a major 3rd interval; therefore you change the fingering for the3rd-string shape due to the tuning of the 2nd string. Because this scale is so often used in jazz and fusion, if you play those genresthen this mode is essential learning. Even if you play other genres, this mode appears so often that it’s worthlearning for any improvising guitarist.

Lydian Dominant Scale Elements

Interval Pattern – R-2-3-#4-5-6-b7Used Over – 7th, 9th, 13th, and 7#11Characteristic Note – #4Genres – Jazz, Fusion, and Classical

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Melodic Minor Mode 5The 5th mode is another rare mode, compared to other melodic minor sounds,that appears mostly in jazz and fusion music. Because it has a major 3rd, you change the fingering when playing the 3rd-stringroot position, as with any major-based mode. As well, the 3rd string in any one-octave shape uses the spread 1-2-4 fingeringyou saw with the 3rd mode of melodic minor. Again, start higher up the fretboard if that stretch is too much for your hands atthis point in your development. Then, work down the fretboard towards the nut as you build this scale and yourdexterity/flexibility on the guitar at the same time.

Melodic Minor Mode 5 Elements

Interval Pattern – R-2-3-4-5-b6-b7Used Over – 7th, 9th, 7b13, and 9b13Characteristic Note – b6Genres – Jazz and Fusion

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Melodic Minor Mode 6The 6th mode of melodic minor is used to solo over half-diminished basedchords, which is why it’s mostly used in jazz and fusion. Because it’s a minor-based mode, it has a m3rd, you don’t have to alter thefingerings for any of the string sets with this mode. Though you probably won’t use this mode often, it’s worth exploring to seehow it can fit into your improvisational palette.

Melodic Minor Mode 6 Elements

Interval Pattern – R-2-b3-4-b5-b6-b7Used Over – m7b5, m11b5, and m9b5Characteristic Note – 2Genres – Jazz and Fusion

Audio Example 110

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Altered Scale The final melodic minor mode is also one of the most popular. The altered scale, which is the most common name for this mode, is used tocreate tension over dominant family chords. Because this mode uses so much tension, b9-#9-b5-#5, you need to addressthose sounds in your lines. You don’t have to always resolve all of those tension notes, but you need to beaware of how they sound when applied to different 7th chords. With this mode, you don’t change the shapes on the 3rd string, but there is a bigstretch with the 2nd string of each shape. Though this stretch is tough to learn, by working melodic minor modes youencounter this stretch several times. This helps get these modes under your fingers and works on that large stretch atthe same time.

Altered Scale Elements

Interval Pattern – R-b2-b3-3(b4)-b5-b6-b7Used Over – 7th, 7alt, 7b9, 7#9, 7b5, and 7#5Characteristic Note – 3Genres – Jazz and Fusion

Audio Example 116

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Other Common Scales The next group of scales and modes come from harmonic minor and harmonicmajor, two lesser-used but important scale systems. Used mostly in jazz and fusion, and classical music to a certain extent, thesedevices add new colors to your minor, major, and dominant solos. Though you might not use these scales and modes as much as major andmelodic minor, explore them to see where they lead you in your playing. You never know when a new melodic device will spur your creativity whenwriting songs or soloing over common chords and progressions. Even if you never use these sounds in your playing, exposing your ears to newscales and modes is always a good idea in the practice room. So, check out these other modes, have fun with them, and enjoy exploring thenew avenues they lead you down in your playing.

Harmonic Minor Scale Though there are 7 modes of the harmonic minor scale, only a few of them arecommonly used in modern music. Because of this, you focus your attention on two of those modes in this eBook,beginning with the first mode of the harmonic minor scale. This mode uses the same fingering for each string set, except the 4th-string root,where you use 3-4 on top rather than 2-3. Though other modes allowed you to experiment with multiple fingerings, this isthe only fingering that makes sense on that string set.

Harmonic Minor Scale Elements

Interval Pattern – R-2-b3-4-5-b6-7Used Over – Minor, mMaj7, and m7b6Characteristic Note – 7Genres – Jazz, Classical, Metal, Rock, and Fusion

Audio Example 122

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Phrygian Dominant The second, and last, harmonic minor mode in this eBook is the 5th mode,otherwise known as the Phrygian dominant scale. Because it’s a major-based mode, with a major 3rd interval, you need to startthe 3rd-string position with your index finger. Other than that, every position uses the same fingering. Used as and alternative sound to the altered scale, Phrygian dominant focuseson the b9 and b13 intervals over dominant 7th chords. Because of this, it’s often used as an introduction to altered notes as it has lesstension than the fully altered scale.

Phrygian Dominant Scale Elements

Interval Pattern – R-b2-3-4-5-b6-b7Used Over – 7th, 7alt, 7b9, 7b13, and 7b9,b13Characteristic Note – b6Genres – Jazz and Fusion

Audio Example 128

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Harmonic Major Scale Not the most commonly used scale; the harmonic major scale is built by takinga major scale and lowering the 6th note by one fret. This makes the first half of the scale look like Ionian, while the second halflooks like harmonic minor, hence the name. Because the first half of the scale is the same as the major scale, you adjust thefingering on the 3rd-string position. While you might not use this scale often, it’s can be a strong technique builder,as you work on the stretch between notes 6 and 7.

Harmonic Major Scale Elements

Interval Pattern – R-2-3-4-5-b6-7Used Over – Maj7, Maj7#5, and Maj9Characteristic Note – b6Genres – Jazz and Fusion

Audio Example 134

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Harmonic Major Mode 5Though the first mode of harmonic major isn’t used that often, the fifth mode isused in jazz and fusion solos. When doing so, you create a 13b9 sound over a dominant 7th chord,highlighting only one altered note in the process. Because there’s a major 3rd interval, you need to adjust your fingering on the3rd-string set. Experiment with this sound in your solos as you explore it as an alternative toPhrygian dominant and the altered scale.

Harmonic Major Mode 5 Elements

Interval Pattern – R-b2-3-4-5-6-b7Used Over – 7th, 7b9, and 13b9Characteristic Note – b2Genres – Jazz and Fusion

Audio Example 140

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Symmetrical ScalesThe final group of scales in this eBook contains symmetrical scales, scales thathave symmetrical interval patterns. Symmetrical scales are built with one common interval between each note, likethe whole tone scale. They can also be built by alternating two common intervals between each note,such as the two diminished scales. Because they have symmetrical intervals, these scales have odd numbers ofnotes compared to the other scales and modes in this eBook. Though they have extra notes, and are built with a different interval system thanother scales, they sound great in your solos nonetheless. Experiment with these symmetrical scales in your practicing and soloing tofind how they fit into your improvisational concepts. They might not be your cup of tea right now, but they add new sounds to yoursolos and open your ears to new soloing possibilities on guitar.

Whole Tone ScaleOne of the most popular symmetrical scales, the whole tone scale is built byplaying whole tones between each note in the scale, hence the name. When doing so, you create a six-note scale that outlines a 7#11#5 sound inyour solos. As well, because there are six notes in a whole tone scale, there are only twowhole tone scales to learn, C and C#. Because the scale is symmetrical, C-D-E-F#-G#-A# whole tone scales allcontain the same notes. The same for C#-D#-F-G-A-B whole tone scales. This makes it one of the easiest, though toughest to make musical, scales youlearn on guitar. Lastly, as it has a major 3rd interval, you need to adjust the fingering on the 3rd-string set position to accommodate for the 2nd-string tuning.

Whole Tone Scale Elements

Interval Pattern – R-2-3-#4-#5-b7Used Over – 7th, 7#11, 9, 7#5, and 9#5Characteristic Note – #5Genres – Jazz, Classical, and Fusion

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Whole Half Diminished Scale The first of two diminished scales is built by alternating whole and half stepsfrom root to root, hence the name of the scale. This scale is also called the fully diminished scale, as it’s used to solo overdim7 chords when improvising. Because it alternates whole and half steps, there are 8 notes in the scale,compared to 6 with whole tone and 7 with other common scales. As well, there are only 3 whole half diminished scales to learn, as C-Eb-Gb-Adiminished scales all share the same notes. The same is true for C#-E-G-Bb and D-F-Ab-B whole half diminished scales,which is similar to how whole tone is dealt with on guitar.

Whole Half Diminished Scale Elements

Interval Pattern – R-2-b3-4-b5-b6-6-7Used Over – Dim7 and DimMaj7Characteristic Note – 7Genres – Jazz, Classical, Rock, and Fusion

Audio Example 152

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Half Whole Diminished ScaleThe final symmetrical scale is the half whole diminished scale, whichalternates half and whole steps, hence the name. This scale is also called the dominant diminished scale, as it’s used to soloover 7th chords where you create a 13#11b9 sound in your lines. It also has 8 notes, as did the whole half diminished scale. Again, because this scale is based on m3rd intervals, a half step plus a wholestep is a m3rd, there are only 3 half whole diminished scales. C-Eb-Gb-A all share the same notes, as do the C#-E-G-Bb and D-F-Ab-B halfwhole diminished scales. There’s no alteration in the fingerings for this scale, you use the same fingergroupings for every string set of half whole diminished.

Half Whole Diminished Scale Elements

Interval Pattern – R-b2-b3-3-#4-5-6-b7Used Over – 7b9, 13b9, and 7#11Characteristic Note – 6Genres – Jazz, Classical, and Fusion

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Congrats, you’ve made it through the Easy Guitar Scales eBook! Not an easy accomplishment as you’ve discovered. Thanks for working with me throughout this eBook. If you have any questions, please visit the Play Jazz Guitar Facebook groupand post any questions you have for a fast response.

About the Author I grew up listening to classic rock and blues, and I still love those styles ofmusic. But, it’s soloing I really love, and that’s what drew me to jazz. My love of jazz has taken me from small town Canada around the globe. I studied at three of the top jazz programs in the world, starting with McGillUniversity, then Western Michigan, and finishing with a Doctorate from theUniversity of Illinois (UIUC). I’ve taught over 6000 private jazz guitar lessons, and my students range frombeginners, to Professors at NYU, and everything in between. I’ve also taught jazz guitar, popular music, and music business at universitiesin Canada, the US, the UK, Brazil, and Nepal. I’ve played over 2500 gigs in 8 countries and shared the stage with RandyBrecker, Stefon Harris, and Slide Hampton. Some of my favorite gigs were at:

Lincoln CenterInternational Association for Jazz Education ConferenceNuJazz Festival (Brazil)Savassi Jazz Festival (Brazil)International Jazz Day Festival (Nepal)

Jazz has been in my life for 20 years, and every day I’m glad I found this greatmusic. Because of this, I want to share this love of jazz and guitar with you.You never know where it’ll lead you.

For the best free jazz guitar lessons on the web, visit mattwarnockguitar.com