Don Mock - Symmetrical Scales.pdf - Nuty , tabulatury , nauka - magd.x

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SECTION

l: INTRODUCTION.,

"""'4

"""""'1

Unitt: Modesof fhe Diminished ond Whole'Tone Scoles

""""5

""""""3

IA-l C

Unit2: Stqtic ond FunctioningDominont Tfhs'

ExomPles

"""""""6

ExomPles 2A-28

SCATE

Unit3: Fingerings of fhe Diminished Scqle'

ll: THEDIMINISHED

"""""'7

"""""""'''""4

Exomplei3A-3c

Unit 4: How lo leorn qnd Prqctice the Diminished Scqle...,''"""'""""I0

C7Proctice Trock

""""""""'5

"""""'I I

Unit 5: Diminished Scqle Sequences.,,,

""""""""6-15

Exomples

4-.l3.,'.,, ..,

,,,:,.*.,,.'i""""""'

""""""""'19

Unit 6: Diminished

Apeggios,.,'.,',,,,',.-.,,,,,,"""";""'r-r"r

""' ro

""")"""""

Exomples

l4A-l 4E.,'.

""""""2.|

Unif7: Using the Diminished Scole

""'17-24

ExomPles15-22

"""""'27

Unit8: Six-Nofe DiminishedShqpes

""""'25-26

ExomPles 23-24

Unil 9: Moior Triods in the Diminished Scqle

"""29

""""27-36

ExomPles25-g4

unif l0: usingthe Diminishedscqle over stqtic chords

'.,,"'.,...34

"37-42

ExorriPles

35-40

SECTION

UnitI l:

lll: THEWHOTE-TONE

SCATE

"""""'37

Fingerings

of the Whole-Tone Scole

""""'43-45

exJmptes41F.-41E,,,,.,.,..,,

""""""""41

Unif l2:

Whole-Tone ScqleSequences.,.,,.,

"""""'46-5.|

Exomples 42-47

"""'M

Unitl3:

Whole-Tone ArPeggios ',

""""""'52

Exomples

48A-48E

"""""""46

Unii l4:

Using fhe Whole-Tone Scqle.,.,

""""""53-59

Exoriples 49-56

Modern Uses of the Whole-Ione - Stolic Chords """"""" """"'52

Exomples 57-60

Unit l5:

"""""'60-63

TheFingerboqrd - Symmetricql Scoles Geometric Ployground '54

Exomples 6l-66

Unit | 6:

""'64-69

Unil l7:

Diminished ond Whole-Tone Lines

""'59

""'70-79

Exomples 67-76

SECTION

Foreword

porf of everyguitorployer's proctice schedule, Ployers hovespentcounfless hours procticing scoles up

ond down oll overthe guitor, sometimeswithgreot success ond sometimes withfrustrotion osthe end

result.

Those of you who know me from my books ond videos or yeors of the GuitorInstitute of Technology(GlT)

knowl've been involvedinguiior educqtion foro long time,l've seen hundredsof studentsstrugglewith

After mony yeors of experience, both pldying ond teoching, l've become o big believer incuttingthrough

the nonsense ond getting to the point of it oll,which is ploying music,

Thepresentotion ond ideos inthisbookore definitelyfrom o ployer'sperspective. We're not going to get

theory of the diminished ond whole-tone scoles, We,llfocusmore

on their usesincontemporory styles

likeblues, rock,fusion, ond )ozz. Don'tget me wrong;there willbe no

shortcuts herewhen it comesto modernmusictheory. Asfor osl'm concerned, oll guitorployers must

hove o good working knowledge of hormony ond theory ond the obilityto reod music, evenif it,sonlysim-

ple chordchorts,

Three Sfeps to Success

Leorning

to improvise con be thought of oso three-rtdp Jro""rr. Thefirst stepistypicolly the teorning of

scoles, Usingeitherthe key centeropprooch orthe modol opprodch, studentsshould leornot leost o few

usefulfingerings of the mojor scoleond be oble to ploy them indttt<eys, Also,inthisfirststep,ployers need

to leornobout hormony ond theory to helpunderstond whichscole fitsoverwhich chord.Armed with

some theoryknowledge, studentscon immediotely begin ploying overevendif1cult chordchonges by

simplyswitching to the correctscoleor keycenterforthe given chord,

Most ployers oftero period of timewill beginto findthis firststeplimiting. Theymoysoy thot theycon,t

seemto moke theirsolos soundlikethe chords,thot they soundtoo scolor. Movingon to steptwo, we

introduceorpeggios oso toolto creotechord sounds,Mixing orpeggioswith ourscolesstortsmoking our

solosmorehormonicolly

intelligent,

oswe now stortreollyleorning mugc.Soforwe,ve been using

scolesond orpeggiosbut moy not been obleto mokeoursolos soundmelodic, Nowit'stimeto leorn

melodies.Mostof usneedto leorno repertoire of melodic linesto use whenwe improvise. Almostevery

one of ourfovoriteployers hos, of one time or onother,leqrned linesby copying recordings or tronscriptions.

l've met mony studentswho tell me theydon't wont to sound likeonyoneelseond feeltheyshouldn,t

copy other ployers, Theysoonreolize thot the roodto originolitygoes throughthe lond of copyinglicks,

phrosing, ond concepts usedby fovoriteployers, Eventuolly,

own originolstyle.

these influencesmerge togetherintoyour

One lostthing:A commonmisconception obout improvising

isthe phrose "ploying whot you heor.,,Mony

to thinkthot they simplymoke up musicon the spot,Whotthey

ore reollysoying isthot they ore ploying whot theyknow,

isthe spontoneousperformonce of ideosthot come to you inthe midstof soloing, you moy

not knowoheod of timewhot you ore going to ploy, but ormed withscoles,orpeggios, melodicideos,

ond theoreticolconcepts,you con ploy o creotive ond spontoneous

improvised solo,

welcome Io Symmetricotscoles Reveoled, Leorning how to ploy ond usescoleshos olwoysbeen o lorge

the someproblems thot Ifoced whengling throughthe process of leorning how to ploy ond usescoles,

too in-depthinto the history ond clossicol

Stepthree isthe finolfrontier of improvising,

ployerssoy theydo this,leoding students

lmprovising

Introduction

scoles ore bestdefined oshoving repetitive or equol-note spocingthot repeots throughout the octove, For

exomple, the whole-tone scqle isexoctlywhot the nqme indicotes;

it'so scole builten1rely of wholetones,

The symmetry of o diminished scoleiso pottern of olternoting wholesteps ond holfsteps, fourtimes per

octove.

one greot thingobout symmetricolscoles isthqt they orevery guitor-friendly

ond eosy to memorize.The

to o slide-rule,

Inmost coses, you con get by with just one

fingering for eoch of these scqlesond then repeotthe somefingeringevery two frets(whole-tone) orthree

frets(diminished) up or down the fingerboord, Guitor ployers con eosity discoverhundreds of unique

melodic ond hormonic ideosthot ore not os obviouson other instruments

like keyboords,

reeds, or bross,

Bothof thesescoles oreveryuseful ond creotivetools usedby improvisers,

how thesesimple scqlescon provide such o complexsound, Intrqditionol jou,

Theirsimplicity con be decep-

theyprovide o controsting

flovorogoinst functionol dominontchords. Modern ployers exploitthese scoles

to odd on outside soundto contemporory

jou, rock, ond even blues.

ln Symmetricol Sco/es Reveqled you'll leornthe most usefulscolepotterns ond explore sequences ond

followedby severol

of myfovorite melodiclines,

. ;

know o fingering ortwo,stickwiththem orfeelfree to modifyony oi theiingerings hereto suityour tech-

for eoch scole,lfyou olreody

nique ond style'The ultimote gool is to be obleto ploy the porticulor scoleonywhere on the guitor in ony

t,^,,

KUV.

Onemore thingobout the fingerings: Youore limited onlyby the lowest ond highest noteson the guitor.

Think of scolesoshoving no beginning ond no end. Don'tbe too concerned withthe bottomortop notes

of eoch individuolpottern, You'llfindthot eoch hos q different stortingond endingnote becouseof the

noturolronge of the strings,

Scolesoresimply o rowof notes, ond you shouldleorn to controlthe scoleby being oble to stort qnd end

on ony note,Eventuolly,

individuol scolefingerings willbeginto blend togetherintJlorgerpotterns until

The bestwoy to get the mostout of thisbookisto sconthrougheoch chopterfirst,Get o feetobout where

ond whot the vorious topicsoreond if theycontoininformotionyou olreodyknow, you shouldreod every

you,

This book deolswiththe two mostusedsymmetricol scoles-the diminished ond whole-tone, Symmetricol

fingerboord is o visuol, grophic instrument similor

tive; it's olmostsurprising

orpeggios withinthe scoles'Nextwe'll leornthe secrets of how to best usethe scoles,

We'llbegin eoch of the two sectionsby first leorningsomegood,fingerings

finollythe wholefingerboord isunderyour control!

Howfo Get the Most Ouf of This Book

poge corefully, but it'sokoy to stortwith onysectioninthe bookthot interests

Unitl: Modes of the Diminished qnd Whole-Tone Scqles

the term mode whendiscussing

symmetricol scolesmqyseemstronge,but modes oren't just found

includingmelodic ond hormonicminorond eventhe pentotonic, hove modes

contoinedwithin them,Of ourtwo symmetricolscoles, the diminishedhostwo modeswhilethe whole-tone

hos just one,

Thefirstmode of the diminishedscolebegins,when oscending,with q wholestepfromthe firstnote or

root,lnsteodof giving itsomeweirdGreeknome,we'lljustcollthe firstmode Ihe diminishedscole.

@l ExomptelA: C Diminished 6cate (tst Modet

I step I/2 step I step I /2 step I step I /2 step I step I /2 step

Theothermodefound inthe diminished

scolebegins witho holfstep,A good nomeforthis one is the domr-

Example I B: D Dominonl Diminished Sca.le(2nd Mode)

I/2step lstep l/2step lsfep l/2sfep tstep l/2step tstep

Don'tlet thismode businesswiththe diminished scoleconfuse you. Bothmodesorestill diminishedscoles

ond ore ployed exoctly the some,Onlythe stortingnotes oredifferent,Youcon ploy both diminished

modeswithone fingering pottern,just stortwitheitherthe whole-step or holf-stepscqle,Youdon't wont to

confuse your fingers

intothinkingthere oretwo different potterns,

Inimprovising,

you willnot only ploy the diminishedscoleover diminishedchords,but moreoftenthon notyou willolso

ploy it overdominont7thchords, Thinking

scoleoverspecificchordseosier,

intermsof two modes mokeslocotingorsuperimposing

the

Example lC: C Whole-ToneScale Mode

Whenit comesto the whole-tone scole,thereisonlyone possiblemode, No motterwhichnote you stort

on ino whole-tone scole,the resultingscolewill olwoysbe the some,

I step

I sfep

I step

Using

in mojor scqles.Allscoles,

I sfep | /2 step I step I /2 step I step I /2 step

nont diminished scole,

I /2 step I step I /2 step I sfep

Thereosonwe ore evenconsideringboth modes isto mokethe scole'sopplicotion eosier,

Don Mock - Symmetrical Scales.pdf

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