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ee, be Guicar grimotre - ScALes & MODES ' guitar * BY ADAM KAom scales & moves — ~ CARL FISCHER: che GUITAR GRIMOIRE. A Compendium of Formulas for Guitar Scales and Modes BY ADAM KADMOD Produced by oh, METATRON we. for CARL FISCHER: Neuphyte and Adept alike, Welcame to ‘THE GUITAR GRIMOIRE Inthe pages that ensue, the mystical veil that enshrouds music theory will be cemoved, ‘Theoey will be explained fer the guitarist sa evaily a5 possible, with cicer concise graphic diagrams, For the Bavanced players who ulicady understand music theory, cis book Mii have scales for you Jo zeadily explore new realms of music ‘For the intermediate players who kuow haw to play chords, etc, but never really knew bow choy Were built, this book will help put he picces of the puzzle into place. Aichougb this book is ossentially Jesigned for ihe intermediate aed advariced player, this book will lay an excellent foundation for the beginner. “This bnok is a “where to book, showing you exactly where <0 find) any scale in any Key on your fretboard. It is a professional fetcenge tool to enhance your music library and playing that you ‘ill use For many years ta come, “This book is dedicated o ull the pioneering guiterits who will ake music to depts and levels never before explored. grimoire \grém’wair\ 2 (rhymes with guitar) [F., book of magical formulas]: ‘magivian’s manual For more information on The Guitar Grinoire® Series and other nmusic instructional products ‘by Adam Kadmon check out the fot'owwing Web sles np: fa. gultargrimoire.com hip:i’wwwadamkadmon.com age Res arate HOW TO USE THIS BOOK CONTENTS "THE BUILDING BLOCKS Of msi” SCALES AND MODES .. MODTS AND RELATIVE SCALES... CHORDS. . + CHORD NAMING SYSTEM + POLYGHORDS + COMPATBLTTY ‘THE PATSERNS INTERVALS AND INSTRUMENT TONE SCALES MAIOR, MELODIC MINGR HARMONIC MINOR HARMONIC Major HUNGARIAN MINOR HUNGARIAN MAJOR NEAPOLITAN MINOR NMAPOLITAN MAJOR, ENIGMATIC MINOR .. ENIGMATIC COMPOSITE TT JONIAN 65. LOCRIANET so PERSIAN .. TONE SCALES . MINOR PENTATONIG (BLUES SCALE) KUMOL en HIRQUOSHT TONE SCALES WLIOLE TONE AUGMENTED PELOG .. DOMINANT SUS ‘TONE SCALES DIMINISHED .. NTORE SPANISH, BEROP LOCRIAN 12 BENOP DOMINANT BEBOP DORIAN BEBOP MAJOR .. HOW TO USE THIS BOOK This book ig divided inta xections according to scale groups. The yruups are T tone, $ tone, 6 tone, and § lone avales. Bach scale group is then subdivided into different scales. For instance, the 7 uote group hes 14 scales, otc.. Bach individual scale ia cvery soale group consists af a tile page, and pattern breakdown pages depicting that particular scale"s usage in all 12 keys. Each ue page comains various charls, The charts are your touly in analyzing iow the mades are derived, compatible chords, keyboard fingerings (for those of you with scquencers and midi equipment), modal generation charts, and guitar fingering partes for conventional and sweeping. "The guitar sweeping pallernt are tien broken down for complete fretbourd in wll 12 BREAKDOWN PAGE NUMERIC SCALE / MODE CHART Before we start with he seales, we will show you how each section of the ttle page works. The Hest section we will explain isthe Numeric Scale / Mode chamt at the bottom of the page (fig. 0, THE BUILDING BLOCKS OF MUSIC Music is sound. But for now imagine that itis a sec of 12 equal blocks (fig, 2). The distance trom fone block 10 the next block is a Bilf-step. From block | to hack 2 isa haif-step, from & to block: 9s ahalf-step, ete. CEST STE sTe ora iLiel siel [8 7 g.2 fig. 3 7 of these 12 tones or blocks have been given positions af “mnajor” importance (Fg. 3).Looking atthe diagram we only see 7 numbers, but there ae still 12 tones ar blocks. The empty blocks are reserved for flats b and sharps * , Tho distance from block 1 to the 1" empty black is all half-step. The blocks thal are numbered are the tones that make up the Miajor scale. ‘The various combinations of balf-stcps ac called intecvals. Nasically, an interval i the distance between 2 tones. The names of the intervals are theu divided into 3 sets. the sxajrs aod the perfects, The voajurs ure 2, 1.6, al 7s the perfels sre Ly 3,and 8. 1 would be amison, xach 452 instruments playing he Sate nore. An's would be the octave, Altering the intervals oth fist or sharps changes them from maajor and perfect into minor. diminished, and augmented fe. + RUGMENTED PERFECT 1458 < 7 oe In essence, flat a major get a minor, flat a minor get a diminished, sharp x major get an ougmertedl, sharp a perfect get an augmented, flat a perfect get a diminished, ‘The entice set of major and perfect intecvals are called dintunie imervals, Let's look at sn easy way for memorizing interval distances by counting the amount af Wocks ‘There are 12 building blocks within the major wale, Therefore, an interval has to consist of so samy building blocks. We'll demonstrate first with a major 2", There are 3 blocke in a majpr 291 fig. 5), but the distance from the 2 to the 3 ic azo a major 2" (fig. 6) TREY TST sll?! (23 TS TL?) + 2] mes pa fig. 6 6 a EE eh eet . et oe Fig. 7 is a complete chart of intorvals shawing you a breakdown in building block format, Alse observe, the chart tells you how many balf- and whole steps make up each interval. TT, 1 Block - UNISON... «CSTERS) Lilie) 2 BLOCKS= MINOR 2 o ia STEP) [TPE a BLocKS~ MAJOR 26... (1 WHOLE BTEP) (HL23] 4 socks - minor (13 STEPS) fT TS 8 BLOGKS = MAJOR 3® ann (2 WHOLE STEPS) (FLO) 6 elocks = perercr am (es STEPS) 1 TE 7 BLOCKS » DIMINISHED 5" (8 WHOLE STEPS) [TOIT 8 Blocks ~ PERFECT 5"... (3 STEPS) 1 Iie| 9 BLacKS= MINOR st (4 WHOLE STEPS) GECEE 11 Ie) 10 BLOCKS = MAJOR & sn(@} STEPS) a H [7 11 BLOCKS = MING 71 '§ WHOLE STEPS) HPPT SPE) 1 aiosns= wason 7m Bs STEPS) fig. 7 [Nove 1e¢'s donk at all the individual componcms ofthe rajor scale in building block breakdown ig. 8) (2. 3a Te 7} OPT} + a MAJOR 2° ....(1 WHOLE STEP) OCLs . MAJOR... WHOLE STEPS} Goo te PERFECT 5%... (25 STEPS) oT) + PERFECT 9 nn. {38 STEPS) | a ee (48 STEPS} = im 2] MAIOR 7 (t STEPS} Fig. 8 Wo can clesrly see here the individual inteevals. We hove a 2%, 39 4,54, 6, and 7, With the ‘odk diagtam we can also seo exactly how many steps make yp each interval Using the same building block breakdown method, we cat also analyze the intcrvallic relation ship becwcen the intervals themselves. Fig, 9 clearly shows us the distance of the intervala from the intervals. For instance, trom the major 2°! to the major 3" is amajor 2" or a whole step. From the 3 to the 4™ix a miner 2" or a half-step, ete. MAJOR 2 MAJOR 20 MINOR 2 MAJOR 2 MAJOR 2 MAJOR 2° (1 WHOLE STEP) (f WHOLE STEP} 3 STEP) (1 WHOLE STEP) (1 WHOLE STEP) (1 WHOLE STEP) Tn studying the altered intervals, muny of them witl look differently on paper and in theory, but saaieally, bey are the same (fig. 10), Pa] GO) ts) PT) OTT T jz Fe] GET Te PTT EE | ) GET [Ts fig. 10 ‘Notice, that the numbers to the right of cach set above are different between the upper and the Jower, yet each has the same number of blocks. The minor 34 is the samme us lhe augmented 2°5,che diminished Sis the same ag the augmented 4", the minor 6" is the same as the augmented 5", and the minor 7* is che same as the augmeted 6". Tn the next example, we see that the diminished 7 (a double-flat 79) is the waane as the major 6% in sound: although in theory, again, they ae two very differenc intervals (Sg. 11} 3 Le REET Gal ‘The complete group of intervals wisn make vp ess in hi cae fe mao scale cen be theoretically repeated infinitely in both directions; although, in practice there are only so many ‘octaves the huni var can was (fig. 12). + WP EEE ee fig, 12 TE - ‘This is the mathematics of music theary, [tis important that you memorize the numerics behind the building blocks, in order ta form a solid foundation for your nnusical creations, SCALES AND MODES A scale is a sequence of tones comprised of varying intervals, Modes can be described as scales based npon the tones of the mai scale, The Major scale han T modes, because it has 7 tones. The 1 mode of any modal systom is the acule itself. For many scales, the individual modes have ‘beett given names because they are used as scales themselves. ‘The modes of the Major scale ate the foaian, Dorian, Phrygian, Lydian, Mixolrdian, Acolian, and Locrian. The mode called Tonian is the Mappr seule, O ull the suales, the Majoc isthe only ‘one that has a different name forthe 1" mode. ‘The Il mode of any scale ix based upon the 2! tone of the main scale, ia this case the Major seflle, A mode uses the eaact ones of the main scale; however, what was a 2 becomes a 1, what was a 3 becomes «2, etc (fig, 13) 7 LBL = by | be Tee Li 1[ [ele a) ay [ola ee ‘The process then continues for the other modes. For the SIf mode, the 3 becomes the 1, the 4 becomes the 2, etc (fig, 14) Tle Pls sl lel Tal Tei) sl |e? mpey [sl etfs <p 7.14 For the TV mode, the 4 becomes the 1, the 5 becomes the 2, ete. (tig. 15). Tal Lal Tele tee lei ye ta as |e Tt me Forthe ¥ mode, the $ becomes the 1, the 6 becomes the 2, etc. (tig. 16) Woo isl SDPELE! see Far the Vimode the 6 becomes the 1, the 7 bevomes the 2, ete. (fig. 17). Tey lelel [s| oe)» Pe 7 For the VIT, mode, the 7 becomes the 1, the 1 beeomes the 2, the 2 becomes the 3, ete. (fig. 18}. fh! fete eDbL be Tae ls Tee ig. 18 fete, efep6] |7] ‘as you can ste inal ofthe examples dbov,overy mas his Hes; however, it as some kind OF aS ome Kad of Se some tind of ay ties Th cer words, bough you are Using he same oes’ sbe mameeis vlc Changes hen ou sit one ceter Huds te tone whieh you tow despoated as ‘At the bottom of the title page of each scale, the celative relationship of each mode to the main scale is geaphed out for you alung with the mbmeric formula for each mode (ig. 17) NUMERIC SCALE / MODE CHART toe sy se i ek gp i town [ir 2 3] 4 7L1, !2 ala! ' ip [ons ta eit 1 men if 5 a Ton | 1 we | jet * fas} aa) {s) ate | oun 2fa Tal [slo 7 wel eocawn | | T I] i fl 1 |e 43 45 ie : fig. 17 In the case of some of the exotic scales in this book, you will get some pretty weird combinations for the uuractic anaysis of the modes at uch a8 double fats band double sharps * , Alan note some of Ure modes dun'thave names, they are merely called mode Il, mode IU, ee. {Fg. 18) UME 5 RIG SCALE) MCDE CHART 12 se 5 ge fe Tes) et] hoe W paces ¥ foo s MW woore ‘noe? ‘The numbers shove the graph vill always be the major seale numbers, se you van see how the snew scale and its madcs relate tothe mn appr scale. Tage Re gemualy only I weale. che Major scale and its codes, AU other scales can te thought uf Patarived medes which also have modes, This may be a bit confusing at frst. but an interesting ‘thought to ponder. For the sake of simp] icity, they will be called “scales” in this text