scales - rgt-acoustic-guitar-lesson.pdf

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THE

SCALE

Leigh

Powers

Published

throughout the

world by

PROFESS IONAL

MUSIC PRODUCTS, INC.

14731-E FRANKLIN

AVENUE

TUSTIN, CALIFORNIA 92680

1979 Music

Research, Inc

This

book, or any part thereof may

not

reproduced

any manner, or

stored

by any

electronic storage

retrieval

system of any kind without

writfen permission

the

publisher.

International

Printed in the United

States of

America.

ACKNOWLEDGEMENTS

Graphic

Design-Music Research Inc., Agoura, Ca.

Writing Typing and

Transcribing-

Secretarial

Services,

Thousand Oaks,

Ca.

Copying- Copymat,

Thousand

Oaks, Ca.

Velox Reductions/ Reproductions-Four

Star Printing,

Thousand

Oaks, Ca.

Cover Design-Leon

White

Cover Photo Processing- Marc

Schreibman, GP Color

Labs.

Graphic

Coordination

and

Design-Brent Block and R. Muckle

for

Music

Research Inc.,

Agoura, Ca.

Typeset-

The Composing Room, Costa Mesa

Ca.

Music

Notation-Stan

Sheldon

Leigh Powers appears through the courtesy

Breeman

Enterprise

LTD.,

Toronto,

Canada

TABLE

OF CONTENTS

INTRODUCTION

.....

........

....

.....

....

.....

....

........

...

...............

. 3

Special

Features

this

Book .

. . . . .

. . .

. . . . .

. .

. . . . . . . . . .

. . .

. .

. . . . . .

. . . .

. .

. . . .

. .

. . .

The

Seven

Fingerings

For Guitar . . .

. .

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. . . . . .

. . .

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. . . 4

he Major Scale

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. . . .

The Major Pentatonic Scale

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. .

. . .

. .

The Mixolydian

Scale

. . . .

. . . . . . . .

. . .

. . . . .

. . .

. . . .

. . . . . . .

. . . . .

. . . . . . .

. .

. . . . . .

. . . . 8

The Minor Pentatonic

Scale.

. . . . . . . . .

. .

. . . . . .

. . . .

. . .

. .

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. . .

. . . .

. 9

The Blues

Scale

.........

...

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...

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...

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......

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.........

The Dorian Scale

....

...

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...

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.......

....

...

......

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......

A Review

..........

.....

...

....

...

............

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...

....

......

.......

The

Lydian Scale

..............

...............

...........

.........

....

...........

The

Natural Minor Scale

..........

....

..........

....

...........

....

.......

...

The Harmonic Minor

Scale

....

.........

....

..........

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.....

... 15

The Melodic Minor (Jazz Minor) ...

............

...

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...

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......

....

...

....

.16

The

H.M.

5 Scale

.......

......

.........

...........

.......

...

.....

...

..........

.. 17

The Overtone Dominant Scale

...

..............

...

................

........

.....

............

The

Altered Dominant Scale .

....

.......

.....

........

...

........

.........

...

........

...

The

Whole

Tone

Scale ..

........

.....

...

....

...

.....

...

The Half-Whole

Scale

....

.......

...

.......

.....

....

...

....

...

......

.. 21

The Whole-Half Scale

.....

...

.........

..........

............

...........................

......

The

5 Scale

...

..........

...............

.....

...

.......

.....

...

.....

...

The

HM 4

Scale

.....

...

.................

....

.....

..........

......

....

...

.....

...

....

The

JM 2

Scale ...

.......

....

_......

....

...

.......

...

....

The

Plain

Mi7b5

Scale .....

......

.....

..........

...

....

.....

....

...

The

H.M. 2

Scale

.....

........

...

....

...

....

...

....

.......

......

...

. 27

The JM 6 Scale

. . .

....

...

......

....

...........

...

.........

.....

.......

....

.28

The

Lochrian Scale

........

..........

...

.......

...

....

.........

.......

...

.....

...29

Review

....

.....

...............

....

.....

...

....

.........

.. 30

THE SCALE BOOK

INTRODUCTION

Scales are the building blocks of melody and

harmony;

the competent

musician

requires

fluency

variety

scales, as well as the understanding of

the relationship

scale

construction to

harmon

Musicians and

usic

students,regardless

of specialization of

study

instrument, may

take a number of useful approaches

the

study

scales

and scale applications.

But there

are so

many

popular styles of

music today,

and

many levels of student

understanding

and teacher attitudes,

that

there

has

arisen

the

demand

for

a source of

useful scale

info rmation

without

a stylistic or methodology

bias.

A simple,

inexpensive

reference on the subject, directed to all

musicians,

needed.

The Scale Book

is this reference work. In

it,

we have gathered

into

a single

location

the most

important

and

useful

scales and their fingerings (for the guitarist). These scales appear here in standard music

notation

, fo

all

instruments,

and also

standard box diagram

illustration,

for the guitar.

We hope you find this volume

useful

throughout your years of musical

interest;

we would

also

enjoy hearing any

comments you might make concerning this

book, the material in it

and its

presentation.

Thank you

for

your con-

tinued

interest in Professional Music

Products.

The

Author

SPECIAL FEATURES OF THE SCALE BOOK

Each scale will be shown

twelve

keys in

standard

musical

notation.

the guitar illustrations each

scale

will be

shown in one key only, but

seven "static" fingerings

involving

no position shifts for the left

hand .

Each

these

fingerings is completely closed (uses

open string), so

that

a transposition

any other

key

can easily be effected

"slide of hand."

In addition, for each scale there will

be provided

a special guitar

illustration

of the note

location

without

recom-

mended

fingering. Because guitarists seem

opinionated

and argumentative lot

of growling

"louts"

decided

to give each, for

the

price of

this book, the

opportunity

express his own

ideas

about

the

fingerings

of scales and

"correct"

us if

he chooses.

HOW TO PRACTICE SCALES ON THE GUITAR

1. Have a positive attitude.

2. Get

plenty

of rest

and eat a

hearty breakfast.

3. Work out

with

weights and run two miles daily.

Agree

with everyone

you

meet

that the only way to learn

scales

is to

practice

fingerings

eleven

hours

day for

716 years-all

the while frowning,

complaining, and

looking

for a

short

cut

which yo

can master

the

study

during

a television commercial.

Ignore the

preceding

steps because they are

not

your

cup of cocoa and because

you prefer an

intellectual

approach.

Study

the guitar

for

years

with every

local

guru-guitarist you

can

find.

Learn everyone's

tricks

and

then

go get

master's

degree

in harmony

music

school.

Become

authoritative

speaker, perhaps a charming

and witty after-

dinner

guest speaker at

the

homes of

local

friends of musicians. Finally,

sit

down

and

learn

your scales.

Should

this

intellectual

approach

become too dry and mechanical for you,

use

magic.

Look at

your

hands. Discover that you

have

five

fingers, the

guitar

has

six strings

and there

are seven

notes

in the

major

scale

Draw a picture of

your guitar

and paint different frets

and strings

different

colors. Paint

umber

each

finger,

and

using your

subjective concept

of pretty

hand

shapes,

develop and

practice

interesting

visual

pat-

terns.

Be careful

not to

listen

while you play, but devise a

cute

name

for your system (like

The Artful

Scales,

Shlonic Scales,

Triadic

Equivalents)

and

into business for

yourself.

Then

sit

down

and

play

scales.

QUESTION: Why did

we write

the preceding paragraphs?

ANSWER:

alert you

to the

damaging

mental

attitudes you could adopt concerning scale

udy.

learn

scales is

not hard, it

isn't

boring,

it isn't

major part of

your

life.

Don't make

these things!

Don't be

impatient, don't assume

that

you won't appreciate

it or that you won't understand it because

it's

new. Don't

ush,

and

don'

overdo

scale

study- but

give

a fair,

honest

effort.

You

can

these things:

1. Spend fifteen

good

minutes

every

day on

scales.

Practice

new

scales

carefully, slowly-you can make

any

number of mistakes

playing fast, so

practice

slowly.

Give

attention to clean

intonation

and

smooth rhythm.

Learn

all

the fingerings

each

scale

Sooner or later,

you

really

want to be a good

player, you

will.

Don't

learn

just the rock scales, and

don't

learn

just two or three fingerings for

each scale. You'll need

the rest for

guitar

fluency.

Have

plan

(no, thanks,

I just had one). You might

learn

three fingerings

for

each

scale

before coming back to

the

rest. You

might

concentrate

rock

but

give ample attention

to the

other scales

well.

Having

a plan and

following it

will eliminate

your

frustrations

by allowing

you to

compare

your

accomplishments

with your goals.

Many

students who can't accurately gauge

their progress

are

often dissatisfied and feel

they

are

"not

good

enough,"

when in

fact

they

have

improved measurably. Others

are sure they have

"gotten

it all together"

hen

they

haven't. A plan

will allow

you

to see

whether

not

you are

attaining

your

goal.

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