Open Chords

 These chords are called "Open Chords" because they have some open strings (unfretted
strings) that ring open.
 These are the most common chords on the guitar, and usually the first chords anybody
learns.
 The "X" in the diagram means that the string is not played. You have to either mute the
string with one of the fingers on your left hand, or simply do not strum it with your right
hand.
 Open chords can only be played in the open position (At the nut of the guitar). However,
you can use a capo to transpose (move over) the pitch of the whole guitar upward to any
tone, and play the open chords in any key that way.
 The fingers of the left hand are numbered as follows. The number inside each fretted note
(Dot on the diagram) is the finger you use to fret that note.
Barre Chords and Barre Chord Extensions
 These chords are called "Barre Chords" because you use your first finger (index finger) to
barre across most of the strings - fretting all the notes in a straight line. The diagram shows
this with the blue line.
 These chords are different from open chords in that they can be played on any fret of the
guitar - giving you chords of different keys, but maintaining the same hand shape. This
gives you a great vocabulary to play most songs using only a handful of chord shapes.
 All chords are classified into 3 categories: Major, Minor and dominant.
 The Barre Chords are organized by "string set".
A string set is defined by - which string the root note (bottom note) is on. There are 3 string
sets:
Chords with root on 6th string (Low E).
Chords with root on 5th string (A).
Chords with root on 4th string (D)
 Major chords on the diagram are expressed as just the letter of the chord (Example: A
denotes A major).
 Minor chords on the diagram are expressed as the letter of the chord followed by the
symbol "m" (Example: Am denotes A minor).
 Dominant chords on the diagram are expressed with the letter of the chord followed by
any of the following: 7, 11, 13. (Example: A7 denotes A dominant).

 Here are some of the possible extensions you can add to basic "vanilla" barre chords.
They are just added tones, which will make the sound character of the barre chords a bit
more interesting.
Chord Inversions
 A root of the chord is the bottom note in the chord after which the chord is named.
(Example: in the chord A major, the root note is A)
A chord inversion is when you put the next node from the triad (Root - 3rd - 5th) on the
bottom
 A "1st Inversion" is when you put the 3rd on the bottom of the chord, instead of the Root
 A "2nd Inversion" is when you put the 5th on the bottom of the chord, instead of the Root
 Play the chords from the diagrams below. You can see that the sound is slightly different
from Root to 1st inversion to 2nd inversion, however the nature of the chord remains the
same.
 Chord inversions are more popular in piano than guitar, because they are easier to play
with two hands. On guitar, however, knowing these shapes will give you extra harmonic
options when playing chords
 Experiment playing the chord progressions you already know by using 1st and 2nd
inversions instead, and note the sound difference. You can also throw in an occasional
inverted chord here and there for variety's sake
 The below examples are only for major and minor chords, but you can come up with
inversions for all kinds of chords, such as dominant and extended chords. Also you can add
extensions on top of inverted chords
 In the below examples you can see that the chord on the left always has the Root note on
the bottom. The chord in the centre has the major or minor 3rd on the bottom. And the
chord on the right always has the 5th on the bottom.
Major Chords and Extensions
 This lesson will show you how to add differnet flavors to a major chord. There are many
possible extensions, such as: maj7th, 6th, 9th, sus4, sharp 11th, and others. You can
combine these extensions in many various ways to produce different interesting chords.
 These chords are useful and easy to play. Choose the ones you like most, or make up your
own chords.
 You can see that all of these chords are made up of notes from the Ionian (major scale), or
Lydian mode.
 As always the chords are organized by string set. This helps you remember the chords by
their position on the neck, and by the string that the root note is played on.
 The chords that have a "T" symbol in the bottom note are the ones which are easier to
play using your thumb for the bottom note.
 Here are the most popular voicings for a major7 chord (Cmaj7)

 Major chord extensions on the 1st String Set (6th String Root):
 Major chord extensions on the 2nd String Set (5th String Root):

 Major chord extensions on the 3rd String Set (4th String Root):

 Be sure to learn for yourself what the chords sound like, and pick out what kind of sound
you prefer to use.

 It is not very important to know the exact name of all these chords. But it's important to
know what they sound like, and what their individual extensions sound like against the root
note.

Minor Chords and Extensions

 This lesson will show you how to add differnet flavors to a Minor chord. There are many
possible extensions, such as: min 7th, 6th, flat 6th, 9th, 11th, and others. You can combine
these extensions in many various ways to produce different interesting chords.
 These chords are useful and easy to play. Choose the ones you like most, or make up your
own chords.
 You can see that all of these chords are made up of notes from the Dorian, Aeolian and
Melodic Minor scales.
 As always the chords are organized by string set. This helps you remember the chords by
their position on the neck, and by the string that the root note is played on.
 The chords that have a "T" symbol in the bottom note are the ones which are easier to
play using your thumb for the bottom note.
 Here are the most popular voicings for a Minor7 chord (Cm7)

 Minor chord extensions on the 1st String Set (6th String Root):

 Minor chord extensions on the 2nd String Set (5th String Root):
 Minor chord extensions on the 3rd String Set (4th String Root):

 Be sure to learn for yourself what the chords sound like, and pick out what kind of sound
you prefer to use.
 It is not very important to know the exact name of all these chords.
But it's important to learn what they sound like, and what each of their individual extensions
sound like against the root note.

Dominant Chord Forms, Extensions

 Dominant chords are particularly important in Jazz, but are used a lot in blues, soul, pop
and rock also.
 The purpose of the dominant chord is to create tension. Most often dominant chord
serves as the 5 (V) chord. From the 5 chord, you always want to go BACK HOME (to the 1
chord)
 Dominant chords are defined by a flat 7th and a major 3rd. Dominant chords can have the
most extensions in music.
They can actually have every single chromatic note added to them, except for a major 7th.
(The 7th has to remain flattened to keep the chord dominant)
 The following are the most popular blues and jazz progressions that use the Dominant
chord:

I - IV - V (basic blues)

I - IV - I - IV - I - V - IV - I - V ("12-bar blues")

I - IV - I - IV - bVdim - I - VI - II - V - (I-VI-II-V) (Jazz Blues)

I - VI - II - V (Turn around at the end of Jazz Blues)

II - V - I (most important progression in Jazz, and the basic building block of most Jazz
Standards)
 Here are the most basic forms of C7

 The regular (non-altered) extensions that can be added to a dominant chord are
6th(13th), 9th, and 11th. You can combine these extensions in many various ways to
produce different interesting chords.
 Here are the domiant chords with regular (non-altered) extensions organized by 3 string
sets:
 Various other Dominant chord extensions on the 1st String Set (6th String Root):
 Various other Dominant chord extensions on the 2nd String Set (5th String Root):

 Various other Dominant chord extensions on the 3rd String Set (4th String Root):

Dominant ALTERED Chords

 Dominant chords are typically based on the mixolydian mode. (C7, C9, C13 chords for
instance are all based on C Mixolydian).
But there can also be 4 extensions added that are not in the C Mixolydian scale.
Those 4 extensions are: b5, #5, b9, and #9.
Adding any of these 4 notes to a dominant chord makes it "ALTERED".
Any combinations of those will also work. Each combination will add a different type of
"spice" to the sound.
By using combinations of these 4 extensions, you will create extra tension during the 5
chord, creating higher "magnetism" of the 1 chord.
 Dominant ALTERED chord extensions on the 1st String Set (6th String Root):

 Dominant ALTERED chord extensions on the 2nd String Set (5th String Root):
 Dominant ALTERED chord extensions on the 3rd String Set (4th String Root):

3-note basic Arpeggios

 "Arpeggios are melted chords, and chords are frozen arpeggios". In other words -
arpeggios are just notes of a chord played individually, in a row.
 Knowing these arpeggios will allow you to locate the root, 3 and 5 of the chord you are
playing. This can be used for lead, in order to start lines from, and resolving lines on strong
tones.
 Keep practicing these shapes, until they become second nature.
 These basic arpeggio shapes may also be used in lead to play an ascending or descending
sequence - giving your solo a defined, and planned out feel. If you place the arpeggio run in
the right spot, it will sound very dynamic and like you planned to make a strong statement.
 Here is a C Major 3-note arpeggio. It has the ROOT, 3rd step and 5th step in every octave.
The roots are the red notes.

4-note Arpeggios
 These arpeggios have 4 notes per octave: ROOT, 3rd, 5th, 7th. They sound more colourful
(due to the 7th) than the basic 3 note arpeggios.
 Knowing these arpeggios will allow you to locate the root, 3, 5 and 7 of any chord you
may be playing. This can be used for lead in a concept called "Chord Tone Targeting", in
order to start or finish lines from strong tones.
 These basic arpeggio shapes may also be used in lead to play an ascending or descending
sequence. Because there are now 4 notes per octave, it is almost like a pentatonic scale. You
will be able to add lots of colour to your solos with these arpeggios.
 Another very cool concept is playing arpeggios modally. You can play every arpeggio in
any related modal key. For example I can play a C Major 7 arpeggio obviously over C Ionian,
but ALSO over D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian or B Locrian. Over
each one of these scales, the C Major 7 arpeggio will produce a different set of extensions.
Experiment, and remember you can play any arpeggio you learned over the related modal
keys.
 Here is a C Major 7 arpeggio. It works over C Major chords. It has the ROOT, major 3rd,
5th and major 7th steps in every octave. The roots are the red notes.

 And Here is the C Major 7th Arpeggio overlaid on top of the C Major scale. This will tie in
the arpeggio with the scale - so that you know where to continue playing, after you played
something from the arpeggio. The grey notes show the remaining notes in the C Major scale
(2nd, 4th, 6th). These remaining notes are not very strong sounding compared to the
arpeggio tones, but can still be used for targeting, based on the situation. You have to
experiment with it and let your ears be the judge.
 Here is a C Minor 7 arpeggio. It works over a C Minor chords. It has the ROOT, minor 3rd,
5th and minor 7th steps in every octave. The roots are the red notes.

 You will most likely be using this arpeggio over a minor progression in improvisation
together with C Dorian or Aeolian mode. Here it is overlayed on top of the C Dorian mode.

 Here is a C Dominant 7th arpeggio. It works over C dominant 7th chords. It has the ROOT,
major 3rd, 5th and minor 7th steps in every octave. The roots are the red notes.
 You will most likely be using this arpeggio on top of 7th chords in improvisation together
with C Mixolydian or C altered scales. Here it is overlayed on top of the C Mixolydian mode.

 Here is a C Minor 7 flat 5 arpeggio. It works over C minor 7 flat 5 chord. It has the ROOT,
minor 3rd, flat 5th and minor 7th steps in every octave. The roots are the red notes.

 You will most likely be using this arpeggio on top of Minor 7 flat 5 chords in
improvisation together with C Locrian mode. Here it is overlayed on top of C Locrian.
 Here is a C Minor/Major 7 arpeggio. It works over a C Minor/Maj 7 chord. It has the ROOT,
minor 3rd, 5th and major 7th steps in every octave. The roots are the red notes.

 You will most likely be using this arpeggio on top of Minor/Major 7 chords in
improvisation together with C melodic minor scale. Here it is overlayed on top of C melodic
minor.

 Here is the C Minor Arpeggio (The difference from C Major, is the 3rd is dropped by a
semitone)
Scales
The Minor Pentatonic Scale
The first scale everyone learns. It's made from 5 "strongest" tones. The less resolved, "weak"
tones are thrown out. This scale is used the most in blues and rock, and perfect over a
minor chord in the same key. This scale is physically easy to play, and will come in handy
over any style of music, as it can be moved around and played in different positions,
producing different sounds.

The Major Pentatonic Scale

The exact same "boxes" and "shapes" as the Minor Pentatonic, but played 3 frets down from
the Minor Pentatonic. It produces a completely different, happy and relaxing sound. Can
only be used over major or dominant chords. It will sound wrong over minor chords,
because the 3rd is Sharpened (Major).

Th e Ma jor S ca le (a lso ca lled "Diato n ic" o r " Ion ian" )

This scale is the basis for all of western music, and you must know it to be able to play over
anything you hear. Just learn the 5 patterns, and you're done. Connect the patterns
together, by practicing connecting 2 patterns at a time. Print out the diagrams, and put
them everywhere around the house, carry them around, until they are in your brain
permanently.

Th e 7 Mod es o f the Major S cale

Now we unlock the true power of the major scale. You do not need to memorize any extra
patterns at all! Just use the major scale patterns you already know, but start playing from 7
different Notes. This produces 7 different sounds. Each one has their own applications, and
sound character. You will get huge mileage out of the major scale by using these!

Th e Ha rmonic Mino r S cale

It's a new scale, BUT remember: it only has 1 note different from the Aeolian Minor scale
(which you already know, if you learned the major scale, or the modes). This scale has a very
distinctive "jump" from minor 6th to the major 7th, which gives it a very classical, "sinister"
character. This scale gives you 7 more BRAND NEW modes that you can use. By learning this,
you are learning 7 more scales automatically.

Harmo nic Minor Mod es

Here, you will find the fingerings for the 7 modes of the Harmonic Minor scale. You will
already know all of these fingerings, if you learned the 5 patterns of Harmonic Minor
(above).

The Melodi c Mi nor S cale

Also called the "Jazz Minor". This scale and it's modes unlocks tremendous flexibility for
you, if you're interested in Jazz. Again, it is only ONE NOTE different from the Dorian Mode
or Major Scale. So you just have to memorize where the 1 note is. This is a fantastic,
mysterious sounding scale, and it's modes will give you much variety when playing Jazz.

Melod i c Mi nor Mod es

These modes allow playing over altered dominant chords and other tension building chords
in Jazz. They have sound character ranging from "spicy" to "tenuous" to "majestic" to
"ominous". All of these have some degree of "tension" - which will "tweak" your ears, if you
are only used to standard pop and rock music.

D imi ni shed S cales

This scale is actually much simpler to learn than any of the other scales so far. This is
because it only has 2 patterns, which repeat 4 times per octave. This scale has a lot of uses
in Jazz. You can play 2 versions of this scale: starting with a whole step OR a half step. This
scale has a very tense, spicy and unresolved sound: even more so than the melodic minor.

Wh o l e To n e S c a l e
The easiest scale to learn out of all of them (only 1 pattern which repeats up and down). 6
note scale. Used mainly over Altered Dominant chords in Jazz for creating a lot of tension.

E x o t i c S c a le s
These scales have exotic sound character reminiscent of many world cultures. Experiment
with these, and classify them into "Major", "Minor" or dominant. Use them appropriately over
"Major", "Minor" or "Dominant" chords.

The Major Scale (Also referred to "Diatonic"

or "Ionian"
 This 7 note western scale is the basis for most music in the world.
 If you learn this scale, you will automatically also know 6 OTHER SCALES as well. This is
another major reason for learning this scale. Each of these 6 other scales (called "modes")
have their own "flavor" and rules for application in music.
 This scale can be avoided if you only want to play the blues, but if you play classical, jazz,
rock, metal, pop, or anything else you should know this scale. And even if you play only the
blues, you will have more flexibility if you know when to use the 2 extra notes from this
scale, that the minor/major pentatonics don't contain.
 This is a slightly harder scale to learn than the pentatonic scale, because it has 2 more
notes.
 Learn the scale one pattern at a time, then connect the patterns as you did with the
pentatonic scales.
 Jam by using this scale to a C-major chord or backing track.
The 7 Modes of the Major Scale
 If you already learned the 5 patterns of the major scale, then you already know all the
shapes that are needed for the 7 modes. If you have not learned them yet, it's also OK. You
can just learn the patterns for each mode on this page, and build your knowledge of the
major scale as you learn these modes.
This lesson will explain how to get the modes from the 5 major scale shapes that you
learned, or which patterns to play for each mode.
 These modes have names that came from the Greek language. If you are unfamiliar with
these names, don't worry, you will remember them soon.
They are: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian
 Each mode has a different sound quality.

2 of the modes are Major (Happy sounding). These are: Ionian and Lydian.
4 other modes are Minor (Sad sounding). These are: Dorian, Aeolian, Phrygian, and Locrian
1 mode is Dominant 7th (Happy sounding, but creating tension). This is the Mixolydian
mode.
 To get different modes over the key of C, we will need to play major scales of other keys,
but maintaining the root note as C. So the root will always remain as C, even though we are
playing major scales in other keys.

These modes are as follows:

1. C Ionian : C major scale over the C root (Diagram 1)

2. C Dorian : Bb major scale over the C root (Diagram 2)
3. C Phrygian : Ab major scale over the C root (Diagram 3)
4. C Lydian : G major scale over the C root (Diagram 4)
5. C Mixolydian : F major scale over the C root (Diagram 5)
6. C Aeolian : Eb major scale over the C root (Diagram 6)
7. C Locrian : Db major scale over the C root (Diagram 7)

 On the guitar, a good approach is: for each mode, to remember 2 patterns and where the
root is in the pattern.
For one pattern - the root is on the 6th string (Low E).
For the second pattern - the root is on the 5th string (A).
By memorizing it this way - you will associate the mode scale fingering to where you will
play chords on the guitar with the root being on 6th or 5th strings.
After you memorize the 2 patterns for each mode and the root position within the pattern,
you can connect the rest of the patterns for that mode, by using your existing knowledge of
the 5 scale shapes of the major scale.
 Modes can be confusing, but remember this: You are ALWAYS simply playing the major
scale. It is just that you are playing major scales of different various keys (C, Bb, Ab, G, F,
Eb, Db) but over (on top of) the same key - C.
 Ofcourse, if the key of C changes to a different key, and you want to find out the 7 modes
of that key, you will have to either use the 2 patterns of the mode you want to play starting
with the root of this new key, or figure out which major scales you need to use over this key
to get each mode.
For example: Let's say we want to find out how to play the 7 modes over the key of G.
You can either use the corresponding patterns for each mode, starting on the root note of G
(3rd fret on 6th string or 10th fret on 5th string)
Or you can figure out that you need to use the major scales: G, F, Eb, D, C, Bb, Ab over the
key of G - to get the respective modes of G.
 Practice switching through all 7 modes in one key!
 Then practice playing only one mode at a time in all 12 keys.
 Each mode is only 1 note different from another mode. Learn: which note it is that makes
each mode different and what kind of "character" that note adds.
 The funnest ways to practice modes - is to use them in improvisation over backing tracks.
You can also just use a sustaining chord with a drum machine groove on top of it.
Also, not only are you practicing your modes and pattern knowledge this way, but you are
also practicing phrasing, and training your ears to learn what sounds good. It's a 3-in-1
deal!
Major Pentatonic Scale
 Diagram on the right shows the 5 scale patterns in the key of C.
 The red dots mark the Root of the scale, which is C.
 You can see that the patterns of this scale are exactly the same as those of the minor
pentatonic, but you play each pattern 3 frets lower than that of the minor pentatonic. The
root note, however still remains as C.
 Knowing this scale allows you to use the already familiar shapes of the minor pentatonic
to get a completely different sound.
 You can use this scale to get a less aggressive, happy sound over a major progression.
 Listen to BB King for the applications of this scale.
 Practice this scale by playing it over a major blues progression.
 Practice mixing this scale with the minor pentatonic, and learn how their patterns overlay
and which notes are different.
Minor Pentatonic Scale
 Diagram on the right shows the 5 scale patterns in the key of C.
 The red dots mark the Root of the scale, which is C.
 This is the most popular and easiest scale that you can play on the guitar, and you should
learn it!
 It has 5 notes per octave. This is why it is called PENTAtonic.
 You can play this scale over any blues or rock progression in the same key. It has an
aggressive character, and sounds great clean or with distortion.
 If we name the scale steps of this scale, they are: 1, minor 3, 4, 5, and minor 7.
The 1, 3, 5 and 7 are very strong chord tones, so you can play them confidently, and it will
sound good.
The 4 is the only note that doesn't sound very strong or resolved, but you can always bend it
up to to the 5.
The fact that 4 out of 5 notes in this scale are strong is what makes it so popular and easy
to learn.
 It is used in many styles of music, but is especially popular in rock and blues.
 Players such as Stevie Ray Vaughan, Jimi Hendrix, Jimmy Page and Eric Clapton all know
and use this scale.
 It is an easy scale to learn, because it uses simple patterns that are easy to remember.
 Learn these patterns one by one, and then practice playing them up and down.
 As you become more comfortable with each of the 5 patterns, connect them together by
playing from one pattern going up or down into the next pattern.
 Eventually connect all the 5 patterns together - and go up and down the neck playing the
scale.
 Make up your own ways to play this scale, and have fun with it!
 You want to start making melodies and phrases with this scale, and not just play it up and
down.
 Play the scale with many different rhythms and speeds.
 Other notes can later be added or changed in this scale to create different "flavours".
 It is a good approach to treat these 5 scale patterns as reference points for other scales in
the future. For example the dorian and aeolian modes of the major scale each add 2 notes
to the minor pentatonic. So, when learning new 7-note scales, you can just learn where the
2 extra notes are, and use your existing pattern knowledge, to accelerate your
memorization.
Harmonic Minor Scale
 This scale is used a lot in the neo-classical style of guitar, as founded by Yngwie
Malmsteen. It's derived from classical music, and has an unmistakable "sinister" sound.
 This scale is only 1 note different from the Aeolian Mode of the Major Scale. This note is
the 7th. Aeolian has a flat 7th. Harmonic Minor has a sharp 7th.
 If you already know the Aeolian mode of the major scale - then just use the 5 patterns of
the Aeolian mode, but learn where that changed 7th note is. This reduces the amount of
memorization you have to do. Just remember all the places in all the 5 shapes where the 7th
note is sharpened, and you got the Harmonic Minor scale.
 Since this scale is different by 1 note from the Major Scale, it does have 7 modes of its
own! Figure out each mode by swapping one note at a time in the scale as the root. In other
words: Play the C Harmonic Minor over other keys: C, D, Eb, F, G, Ab, B
 Listen to Yngwie Malmsteen if you like Metal and fast guitar playing. Or listen to any
classical composer and try to pick out where this scale is used.

 The mode names are:

Harmonic Minor (1st mode)

Locrian flat 6 (2nd mode)
Ionian sharp 5 (3rd mode)
Dorian sharp 4 (4th mode)
Phrygian flat 3 (5th mode)
Lydian sharp 2 (6th mode)
Altered flat flat 7 (7th mode)
The 7 Modes of the Harmonic Minor Scale
 The mode names, in order, are:
Harmonic Minor, Locrian Sharp 6, Ionian Sharp 5, Dorian Sharp 4, Phrygian Dominant,
Lydian Sharp 2, and Super Locrian bb7
 Each mode has a different sound quality.
2 of the modes are Major (Happy sounding). These are: Ionian Sharp 5, Lydian Sharp 2
3 of the modes are Minor (Sad sounding). These are: Harmonic Minor, Dorian Sharp 4,
Locrian Sharp 6
2 of the modes are Dominant (Creating tension). These are: Phrygian Dominant, Super
Locrian bb7
 To get different modes over the key of C, we will need to play the Harmonic minor scale of
other keys, but maintaining the root note as C. So the root will always remain as C, even
though we are playing Harmonic minor scales in other keys.

These modes are as follows:

1. C Harmonic Minor :
C Harmonic Minor scale over the C root (Diagram 1)
Play this scale over minor chords or power chords

2. C Locrian Sharp 6 :
Bb Harmonic Minor scale over the C root (Diagram 2)
Play this scale on the root of half diminished chords

3. C Ionian Sharp 5 :
A Harmonic Minor scale over the C root (Diagram 3)
Play this scale on the root of Maj7#5 chords

4. C Dorian Sharp 4 :
G Harmonic Minor scale over the C root (Diagram 4)
Play this scale on the root of minor chords

5. C Phrygian Dominant 6 :
F Harmonic Minor scale over the C root (Diagram 5)
Play this scale on the root of dominant 7th chords or 7#5 and 7b9 chords

6. C Lydian Sharp 2 :
E Harmonic Minor scale over the C root (Diagram 6)
Play this scale at the root of Maj7 or Maj7#11 chords

7. C Super Locrian bb7 :

Db Harmonic Minor scale over the C root (Diagram 7)
Play this scale on the root of diminished 7 chords

 On the guitar, a good approach is: for each mode, to remember 2 patterns and where the
root is in the pattern.
For the first pattern - the root is on the 6th string (Low E).
For the second pattern - the root is on the 5th string (A).
By memorizing it this way - you will associate the mode scale fingering to where you will
play chords on the guitar with the root being on 6th or 5th strings.
After you memorize the 2 patterns for each mode and the root position within the pattern,
you can connect the rest of the patterns for that mode, by using your existing knowledge of
the 5 scale shapes of the Harmonic Minor scale.
 Practice switching through all 7 modes in one key!
 Then practice playing only one mode at a time in all 12 keys.
 The funnest ways to practice modes - is to use them in improvisation over backing tracks.
You can also just use a sustaining chord with a drum machine groove on top of it.
Also, not only are you practicing your modes and pattern knowledge this way, but you are
also practicing phrasing, and training your ears to learn what sounds good. It's a 3-in-1
deal!

The Melodic Minor scale

 This scale is used a lot in Jazz. It\'s a great way to add a slightly different sound to a
minor chord. (or other chords, if you use various melodic minor modes)
 This scale is only different from the Dorian mode by 1 note. (7th is sharpened)
 Another way to think about this scale is as C Major, but the 3rd is dropped by a semitone,
making it minor.
 Choose a way to think about this scale, such as C Major with flat 3, or C Dorian with sharp
7th. Either way can work. Then just memorize where the changed note is from the original
major scale.
 As you can see, just like the Harmonic Minor scale, this scale is again only different from
the vanilla major scale by just 1 note. It\'s an easy and cheap way to memorize a whole new
scale (with it\'s own modes), by simply memorizing where a difference of 1 note lies.
 Figure out the modes by playing the C melodic minor scale over C, D, Eb, F, G, A, and B
 The mode names are:

Melodic Minor (1st mode)

Dorian flat 2 (2nd mode)
Lydian Augmented (3rd mode)
Lydian flat 7 (4th mode)
Mixolydian sharp 13 (5th mode)
Locrian sharp 2 (6th mode)
Super Locrian (7th mode)
The 7 Modes of the Melodic Minor Scale
 The Melodic minor is a very popular scale in jazz and fusion. But it can be used to add
extra colour to a minor solo or to tweak the ear a little bit with that Sharp 7 degree in a
minor context. The other 6 modes of this scale are all very cool sounding and all have their
distinct applications. Here I will describe them on a practical level. When you can use each
mode and what do they sound like.
 The mode names, in order, are:
Melodic Minor, Dorian Flat 2, Lydian Augmented, Lydian Flat 7, Mixolydian Flat 6, Locrian
Sharp 2, and Super Locrian
 1 of the modes is Major (Happy sounding). It is: Lydian Augmented.
3 of the modes are Minor (Sad sounding). These are: Melodic Minor, Dorian Flat 2, Locrian
Sharp 2
3 of the modes are Dominant (Creating tension). These are: Lydian Flat 7, Mixolydian Flat 6,
and Super Locrian
 To get different modes over the key of C, we will need to play the melodic minor scale of
other keys, but maintaining the root note as C. So the root will always remain as C, even
though we are playing melodic minor scales in other keys.

These modes are as follows:

1. C Melodic Minor :
C Melodic Minor scale over the C root (Diagram 1)
Use this scale starting on the root of min/maj7 chords, and regular minor chords to
introduce the sharp 7 sound.

2. C Dorian Flat 2 :
Bb Melodic Minor scale over the C root (Diagram 2)
Use this scale on the root of minor 7 chords and 7b9sus chords

3. C Lydian Augmented :
A Melodic Minor scale over the C root (Diagram 3)
Use this scale on the root of major chords wiht a b5, #5 or #11

4. C Lydian Flat 7 :
G Melodic Minor scale over the C root (Diagram 4)
Use this scale on the root of dominant chords with or without a b5

5. C Mixolydian Flat 6 :
F Melodic Minor scale over the C root (Diagram 5)
Use this scale on the root of dominant chords with a #5

6. C Locrian Sharp 2 :
Eb Melodic Minor scale over the C root (Diagram 6)
Use this scale on the root of a half diminished chord.

7. C Super Locrian :
Db Melodic Minor scale over the C root (Diagram 7)
Use this scale over any kind of altered dominant chord, or half diminished chord.
 On the guitar, a good approach is: for each mode, to remember 2 patterns and where the
root is in the pattern.
For the first pattern - the root is on the 6th string (Low E).
For the second pattern - the root is on the 5th string (A).
By memorizing it this way - you will associate the mode scale fingering to where you will
play chords on the guitar with the root being on 6th or 5th strings.
After you memorize the 2 patterns for each mode and the root position within the pattern,
you can connect the rest of the patterns for that mode, by using your existing knowledge of
the 5 scale shapes of the Melodic Minor scale.
 Practice switching through all 7 modes in one key!
 Then practice playing only one mode at a time in all 12 keys.
 The funnest ways to practice modes - is to use them in improvisation over backing tracks.
You can also just use a sustaining chord with a drum machine groove on top of it.
Also, not only are you practicing your modes and pattern knowledge this way, but you are
also practicing phrasing, and training your ears to learn what sounds good. It's a 3-in-1
deal!

Diminished Scales
 This scale is called the C "whole-step" diminished scale. It's called this, because, if you
look at the first note you play up from the root, and it's a whole step. If you were to start
playing this very same scale from the next note (not C, but D for example), we would call
this the D "half-step" diminished scale, because the next note would be Eb.
 A diminished scale is simply an alternation of whole-tones and half-tones, starting with a
whole-tone. Because of this, there are only 2 possible modes of this scale, and the scale
notes repeat themselves completely every 3 frets on the guitar (4 identical fingerings per
octave). It's quite easy to learn because of this - because you can simply learn 1 pattern, or
2 if you want to be completely well versed in playing the scale up and down.
 The whole-step and the half-step diminished scales have a completely different sound
between each other.
 The whole-step diminished scale is great for building tension and has a dark, mysterious
sound.
 It's an 8 note scale.
 This scale only has 2 patterns to learn. These 2 patterns repeat 4 times in an interval of
12 frets on the guitar.
For example: The diagram 1 and 2 show the two patterns played on the 8th fret. They can
also be played on the 11th, 2nd, and 5th frets - resulting in the exact same notes of C
whole-step Diminished (as well as Eb, F#, A whole-step Diminished as well, respectively)
 Diagram 1 shows the diminished scale played in a downward direction from the root

Diagram 2 shows the diminished scale played in an upward direction from the root

 Practice playing these 2 exact same shapes starting on the 8th, 11th, 2nd, and 5th frets.
You can see that the sound quality is exactly the same.

The Whole Tone scale

 The Whole Tone scale is actually the easiest possible scale that you can learn on the
guitar.
 It's a 6 note scale.
 This is a scale with just 1 scale pattern that keeps repeating. Therefore it is called a
"symmetrical" scale.
 This scale does not have modes - because every mode of this scale sounds exactly the
same.
 Here is the basic position of the scale that repeats up and down the neck:
 Here is the scale ascending up the neck:

 And here is the scale played on the B, G and A strings only using symmetrical "boxes"

Exotic Scales
These scales can be used to get very unique sounds reminiscent of non-western music.

Also, try playing the modes of each of these scales.