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The harmonic minor scale is one of the lesser used scales, but used wisely can sound great in any type of music, the most common way to use it in contemporary styles like pop and rock is to use it when paying the dominant 5th chord, so if you were in the key of A harmonic minor then the dominant 5th chord would be (E7), or even just playing the 5th chord (E major) works too. Here are all 12 keys for the harmonic minor scale with the fingering and notes over two octaves, keep in mind that if you were to play more than two octaves you would change the end part of the fingering in some of these examples as the fingering here is for if you were going to come back down the scale again, so if you want to keep going, use the fingering for the first octave again.
The name of a chord is determined by the relationships of all the notes in the chord to the tonic. Once you know how to name triads (please see Triads and Naming Triads), you need only a few more rules to be able to name all of the most common chords.
Chord charts, manuals, fingering charts, and notes written out on a staff are all very useful, especially if the composer wants a very particular sound on a chord. If you take a basic triad and add a note that is a seventh above the root, you have a seventh chord.
Listen to the differences between the C seventh, C major seventh, C minor seventh, and C diminished seventh. To find out what to call a note added to a chord, count the notes of the scale named by the chord. TweetBeing a good jazz guitar player means knowing how to practice guitar scales so that they stick in our ears and under our fingers.
Playing scales in intervals breaks us out of ‘grid locked’ positions on the guitar fretboard, and helps us understand the imbedded harmony found within each scale on a much deeper level. Therefore, I recommend thoroughly learning the appropriate scale harmony before practicing the scale in intervals. So, returning to our C major scale, if we wanted to practice this scale in thirds, note that some intervals would be major 3rd while others would be minor 3rds. Some intervals present challenging fingerings on the guitar (most notably 6ths and 7ths) that we might not use often when improvising, but this exercise ensures we know the scales inside out.
Once you can comfortably play a scale using a variety of intervals, try and create some lines using a specific interval and take it to a progression or tune you are working on in the practice room. Here is an example of a ii-V-I line with a specific focus on utilizing 3rds throughout the phrase. While it’s a great idea to practice scales on guitar in positions that fit nicely under the fingers, you can sometimes become lazy and not think about what notes you’re playing, instead relying solely on box patterns to guide your fingers. One way to avoid this problem is to practicing scales on one string, because you have to think about the notes you’re playing and can’t depend solely on the fingering. As well as being a good practice technique to learn scales, playing horizontally across the neck is also a beneficial way to practice phrasing.
This exercise also means that we’re often not starting on the root, so we tend to avoid simply playing up and down the scale, which can help further develop your understanding of scale construction. Here’s how a one-octave C major scale would look on the first string of the guitar, starting on the lowest possible note, E. Here’s how the C major scale would look like on the top two strings of the guitar, starting on the lowest note on each string, B and E. When practicing scales, you are working on a number of other items such as technique, theory and dexterity, but rhythm is one element that sometimes get forgotten. So far all the exercises in this book have been notated in quarter notes for easy readability and clarity, but you should practice every exercise with different rhythms to ensure a well-rounded practice session. Once you can play each rhythm comfortably by itself start to combine different rhythms together, and then start to create lines as you did at the end of the interval section of this book. You don’t always need your instrument to practice scales and can therefore practice on your lunch break, in front of the TV, walking through the grocery store etc. When I first started studying music at college, I quickly had to learn all the notes for each scale and arpeggio in all 12 keys, a highly recommend exercise by the way, and 70% of the shedding for this task was done on the bus each morning as I made my way to school.

Repeat this exercise in all 12 keys, either by saying the notes or writing them down if it helps, before moving on to other scales such as harmonic minor or whole tone. I hope these exercises have been useful and that you have enjoyed them, how do you practice scales? Check out any link below for the answers to my top 10 most frequently asked questions that I am asked by students, teachers, readers, and subscribers. This entry was posted by Jamie on 25 November, 2012 at 22:31, and is filed under Jazz Guitar Scales, Latest Lessons.
Precisely what honestly influenced u to compose “How to Practice Scales on Guitar – JamieHolroydGuitar.
I'm very open to and interested in hearing any proposal or suggestion, but I do ask you to ask me first.
As you can see, there are six beats to the measure, with an eighth note valued at one beat. But all you really need to know are the name of the chord, your scales, and a few rules, and you can figure the chord out for yourself. There are several different types of seventh chords, depending on what type of triad and what type of seventh is used. You can add any note you want, but the most common added notes are notes in the scale named by the chord. Low-number added-notes often replace one of the regular notes of the chord (4 replacing 3 for example, or 9 replacing 8). In some modern music, many of these dissonances are heard as pleasant or interesting or jazzy and don’t need to be resolved.
So even though they both add a D, a C4 suspension will sound quite different from a C11 chord. Having devoted countless hours to this over the years, I have discovered several effective ways to do this which I’d like to share with you in this artcle. For example, when practicing the C major scale, you wouldn’t use minor 2nds, because you’d get notes that clash against the harmony. By practicing in octaves, we are also developing a great solo technique used by jazz-guitar legend Wes Montgomery. As guitarists, we tend to rely on playing vertically on the neck most of the time, which is fine, but we don’t want this approach to become a limitation.
Because you don’t have many notes within reach, you will probably get bored fast and have to find new and interesting ways to use the notes that are available. After you can play the scale on each string, try combing two strings before moving on to other keys and scale types, such as melodic minor and diminished scales. Rhythm should be a focus of all your practice room items, including arpeggios, chords, chord progressions and improvising. Practice each one separately at first before try switching between two or more different rhythms. Then, I would say the notes in my mind for that scale staring in C, before working through the other 11 keys. I also recommend modulating between keys in different intervals to get the maximum results from your time in the practice room. Either have them all memorized, or be able to figure them out following the rules for triads.
OR if you know your scales and don’t want to learn about intervals, you can use the method in #3 instead. However, in other styles of music, dissonances need to be resolved, and some chords may be altered to make the dissonance sound less harsh (for example, by leaving out the 3 in a chord with a 4).

By the time I got my guitar in my hands, I already knew the notes of each scale cold, so all I had to do was get the muscle memory down and the scales were learned. If you know all your scales (always a good thing to know, for so many reasons), you can find all the intervals from the root using scales. If you want to add a note with a different name, just list its number (its scale degree) after the name of the chord.
Because of my mental shedding, I was able to get the scales down much faster than I had done before. If you would prefer this method, but need to brush up on your scales, please see Major Keys and Scales and Minor Keys and Scales.
I suppose what I am getting at is that when trying to understand certain genres of Jazz, and particularly Jazz guitar, it is possible to trace its development back to certain key influences, and certain names maintain their historic importance and are universally acknowledged, such as Wes Montgomery and Charlie Christian and Django Reinhardt (who Holdsworth also claims as a major influence). You need to know the rules for the common seventh chords, for other added notes, and for bass notes. On the other hand, they will put the added note of a C11 at the top of the chord, far away from the bass note and piled up on top of all the other notes of the chord (including the third), which may include the 7 and 9 as well as the 11. But since the work of the artists I previously mentioned, there seems to have been an explosion of both styles and forms of expression that do not seem to me to be rooted in those approaches to improvisation and composition – neither melodically nor harmonically.
The C4, on the other hand, has a more intense, needs-to-be-resolved, classic suspension sound. What I am looking for is a means to capture the essence and flavour of these lines, rather than try to sound like any given player. It is difficult to know where to start, despite having already spent many years with this goal in mind. I suppose I have my own style already, but I feel limited in my expression.Thank you for your patience reading this question and please forgive the lengthy nature of my post. As well, if you want to spice things up harmonically, you can add a passing triad in between the triad pair to create an inside-outside sound. For the case of G-A, you could add in an Ab triad to add an extra level of tension to your lines, G-Ab-A.You can apply triad pairs to any chord you are soloing over, and as you get more familiar with them you can pair up triads that are more than a tone apart, but this is a good place to start.
This technique comes from the great jazz trumpeter Woody Shaw, and is used my many modern jazz players to this day.The concept is built upon the idea of taking the octave and dividing it into two equal parts, which produces the interval of a tritone.
For example, over Cmaj7, as in the notation below, you start with the tonic, Cmaj7, and you divide the octave from C-C in half, which gives you the note F#. Then, you harmonize that second note with the same chord quality as the tonic, F#maj7, and you alternate between these two chords in your lines.This means that if you were soloing over a Cmaj7 chord and you applied this concept, you would build your lines by alternating between a Cmaj7 and F#maj7 chord as you moved across the neck. This approach allows you to outline each of the two chords, producing the inside-outside sound, while you work with only four notes on each chord, making it easier to switch between the two on the neck until you are more comfortable with this harmonic pairing.Once you have the arpeggio approach down, you can try moving between the two scales that come from each chord, in this case C major and F# major. When those two ideas are comfortable as separate entities, then bring them both together, mixing scales and arpeggios over both chords as you build your lines and phrases.You can apply the tritone-division technique to any chord quality you are soloing over, m7, 7, m7b5, m6, mMaj7, the key is to use two chords a tritone apart that are of the same harmonic quality. This means that if you wanted to apply this approach to G7, you would blow between G7 and Db7, both 7th chords a tritone apart.Once you have this idea under your fingers and in your ears over a static chord vamp, try working it over a ii-V-I progression, a blues or your favorite standard. Matt currently lives in the UK where he is a Senior Lecturer at the Leeds College of Music and an examiner for the London College of Music (Registry of Guitar Tutors).

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