Scales & sequences (6)

Essential Scale Sequences

Essential Scale Sequences

What are scale sequences?

A sequence is a repeated and ordered pattern applied to the notes of a scale or arpeggio.

Imagine walking in a straight line for 8 steps. You could go ahead one step at a time like you normally would or you could decide to mix it up. For instance, you could step forward 3 times and step back once. You could step forward 4 times and step back twice. You could even leap forward a distance of 2 steps and then take a step back. All of these would be different ways in which you could walk ahead 8 steps. They are different patterns. They are different sequences.

Why learn them?

From the moment you learn a scale, it is your duty as a musician to convert it into music. Playing scales up and down the same way forever simply won’t cut it. And so the use of scale sequences is the answer. Sequences are an essential part of fretboard freedom and musical freedom. The more you master, the more interesting and creative sounds you can make with scales. Using sequences can change the way in which your guitar leadwork affects a track/song/jam. For instance, simply playing up through the notes of a scale produces a rather bland and straightforward result, represented below by a straight line. Whereas by applying something powerfully intervallic like the second example in this article: the "Pentatonic 4ths" sequence, you can produce a far more jagged and melodic sound to the ear, represented below by the jagged rising line.

How to use them

Play through the examples. Alternate pick everything. Apply them to different positions/scales/modes/keys. Familiarise yourself with the different sound of each sequence. Next time you jam, make sure to incorporate them into your leads. Perhaps between licks, melodies or scale runs you already know. Remember to mix it up: play examples as 16th notes (4 notes per beat) but also try them as 8th note triplets (3 notes per beat). Different notes of the sequence will land on different beats and can change the sound. You may be very pleased with what you discover! Pay very close attention to the fretting fingering instructions under some ambiguous tabs. Play examples exactly as specified to avoid unnecessary difficulty and confusion.

Example #1: "Linear Fours" in C Major

Here is the first of four examples. Instead of playing the C major 3-notes-per-string (3NPS) scale up and down, we apply a sequence called "Linear Fours". The pattern goes like this: Forward 4 notes, back 1 note. When you step back that one note, the sequence begins again. Give it a go!

Example #2: "Pentatonic 4ths" in A minor

Now we will try out a pentatonic idea. This one is trickier as it requires you to employ finger rolling to hit adjacent notes. In other words, you'll need to rock a small barre back and forth with a fretting finger to play notes which have the same fret number but a different string. Go really slowly to ensure a clean sound. And make sure you follow the fingering instructions under the tab.

Example #3: "Skipped 3rds" Diminished Arpeggio

This example shows that sequences aren't limited to scales - they can be applied to arpeggios as well. Starting on the D note on the low E string we play through the 4 notes of the diminished arpeggio (Root, Min3, b5 & 6 AKA bb7). But we don't play them in order. Instead we play the first note, then jump over the second to play the third (Hence "Skipped 3rds") and then we step back a note to play the second. And from that note we skip up a third, then step back one, and so on it goes. Once again, pay attention to the fingering instructions below the tab. Love this sound!

Example #4: "Root, 7th & 5th Triads" E Lydian

This is the most complex example by far, and sounds amazing! I'll try to explain this one as simply as possible. We are basically sequencing an E Lydian scale by building triads of root, 7th and 5th off every note of an EMaj7 chord. But don't get too caught up with the technical aspects of this if you don't want to, just follow the fingering instructions (Slowly!) and enjoy this beautiful sound.

Check out the video lesson!

 



 

 

 





Diminished Scale Picking Patterns

Diminished Scale Picking Patterns

The diminished scale is another very interesting scale. It's a neverending repeating pattern of whole tone, half tone, whole tone, half tone etc. For this reason there are only two main scale positions, as opposed to the 5 positions of the pentatonic scale or the 7 positions of the major scale. It also sounds terrifying in a heavy metal solo and is great for working all 4 fretting fingers as you will see. I will now take you through the 2 main scale positions, and then I will show you 3 of my favorite diagonal shapes.

Whole-Half Diminished Scale

Starting on the 7th fret, try out the Whole-Half diminished scale. It's called this because from the root note, in this case B, we play a whole step ahead (2 frets) followed by a half step (1 fret) after that. This pattern repeats endlessly.

Half-Whole Diminished Scale

This is the second position and therefore starts on the second note of the first scale shape, the C#. This is the same idea as before but flipped around so that we begin with the root note, followed by a half step, followed by a whole step, and so on.

Whole-Half Diagonal

Because of the repetitive nature of the diminished scale, you can arrange your fingerings into really interesting diagonal shapes like this. This one is exclusively the "Whole-Half" fingering.

Half-Whole Diagonal

This one is exactly the same as before except instead of using the "Whole-Half" fingering on the B (7th fret), we will be using the "Half-Whole" fingering on the C# (9th fret)

Wide 2-nps Custom Diagonal

Here is a custom, wide, diagonal position which is a favorite of mine. It begins on the B (7th fret), skips the whole step and the half step to land on the fourth note. I then shift this pattern up and across diagonally. Wow what a sound!

Be sure to bust out these evil scales next time you encounter a heavy open E riffing breakdown!
Check out the video lesson below for the playthrough

 

Min7 Alternate Picking Patterns

Min7 Alternate Picking Patterns

Last time I showed you how a Cmaj7 arpeggio could be arranged into useful picking patterns. Now, staying in the key of C major/A minor, we will be moving on to the Amin7 arpeggio. The notes and intervals contained in the following two picking shapes make up the arpeggio:

A, C, E & G.
R, m3, 5th & b7


A root, minor 3rd, 5th and flat 7 makes up a minor 7 chord/arpeggio.

Shape 1:

Shape 2:

Here's a bonus - because Dmin7 and Emin7 chords are both in the key of C major/A minor, you can play the exact same patterns for those arpeggios as well. This fact makes the arpeggio picking shapes extra useful.

Here is a descending run which I created by blending the Dmin7 and the Emin7 shapes together:

To hear these shapes in action (+ some bonus music theory) check out the video I made for this lesson:

Cmaj7 Alternate Picking Shapes

Cmaj7 Alternate Picking Shapes

Here I have arranged the notes of a Cmaj7 chord into some seriously handy scale-like shapes. Pick through these, work them into your own soloing and get ready to jam with a whole new sound.

While using every note in any given scale is surely effective, by choosing and limiting which notes you play you can discover a whole new realm of sounds, licks and opportunities.

And so the idea I present today is how you can arrange the notes of a Cmaj7 chord/arpeggio (B, C, E & G) into playable scale-like shapes. Use the following shapes in the key of C Major (AKA A Minor):

SHAPE 1

SHAPE 2

SHAPE 3

Work these ideas into your own style. Blend them with your current favourite licks. Enjoy utilising the fresh sound that is the major 7 arpeggio.

To see and hear these shapes in action (+ a music theory breakdown) check out my video lesson below!

Introduction to 3-notes-per-string scale sequences

Introduction to 3-notes-per-string scale sequences

The following scale shape is the Aeolian mode, otherwise known as the natural minor, the full minor, the minor scale and so on. I firmly believe that the 3-note-per-string scale shapes are the only modal scale shapes needed. Box shapes are unnecessary and cumbersome to work with, especially when trying to gain speed or eloquently sequence scales.

Sequencing the scale

Sequencing the minor scale is no different to sequencing the minor pentatonic scale. The pattern of notes simply follows the sequence chosen. Here are two somewhat challenging yet useful sequences:

LINEAR 4ths

This is the name I personally gave this sequence. Other than that I suppose one could call it the “Up 4, back 1 sequence”.

Ascending:

Descending:

SKIPPED 3rds

This is a very common sequence. Otherwise known as "diatonic thirds". Once you’ve become familiar with it, you’ll start noticing it everywhere in music. It’s difficult to articulate as the notes are “skipped”. Skipped sequences are typically harder to play than so called “linear” ones, so don’t aim for speed with such sequences straight away.

The “skipped 3rds” sequence goes like this: Skip up a 3rd, back down 1.

Ascending:

Descending:

Sequence mixing

This next example showcases how sequences can be mixed together within a scale to create interesting musical passages.

In A minor (Aeolian):

Three-Note-Per-String Blues Scale Patterns

Three-Note-Per-String Blues Scale Patterns

As we know, the blues scale is a fundamental scale learned rather early on. Perhaps for this reason, it is widely thought of as a beginner's tool. This is not the case! Not only can the blues scale be used to create some of the most slick/emotional blues solos, it can also be visualised and played as a 3nps scale. This allows for further sequencing opportunities, huge fretboard coverage and opens up a whole new world of wild, flashy and wide-interval legato/ tapping licks (if that's your thing).