Lesson 15 – 12 Notes: A Lesson In Musicality

This was originally posted on ”12 notes”, a page on this website dedicated to guitar music and lessons.  So, for the more musically inclined, here is my fifteenth guitar lesson to you:   A short lesson in musicality.  If you run into any problems, drop me a line and let me know, and thanks for reading! 

Enjoy!

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Lesson 15:  A short lesson in musicality.       

      Bb7                                 Eb7

- – – – – – – – – – – – – – – – - - -6 – – - - – – -8 – – – 6- – – – – – – – – – – – – – – – – -
- – – 6- - – – – -8 – -6 – – – – – -6 – – - - – -6 – – – 6- – – – – – – – – – – – – – – – – – – – – -
- – -7 – – – – – -7 – -7 – – – – – 6- - – – – – -6 – – – 6- – – – – – – – – – – – – – – – – – – – – – -
- – -6 – – – – – 6 – – 6- - – – – - 5- – – – – – -5 – – – -5 – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – - - – 6- – – -0 -6 – – – – – – – – – – – – – – – – – – – – – – – – – – -
-6 – – – 0- 6- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

Now, these chords, played this way, these dominant Bb and Eb chords, are pretty easy to pick out as part of a basic blues progression. And since the first chord is Bb, the key is Bb.   You can plant just about any pentatonic riff over this chord progression and it sounds just fine, despite the fact that, if you get technical, doesn’t exactly fit the pentatonic scale.  Several notes here in these chords do not fit the Bb Pentatonic scale.  But then again, that is kind of the key to the blues.  Blue notes, notes outside the key you are playing in, making those notes fit, and sound good. 

Here is a riff that I often play over that simple progression. (bend and hold  for an additional beat the notes that are in boldface)

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – 8- 6- – – – 6- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – 6- – 8- 6- 8- – 7- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – 6- - – – – – 8- – 6- -8 -8 – 8- 8- 8- - – – 6 – 8- – – – – – – – – – – – – – – – – – – – – – -
-6 -7 -8 – – – – – – – – – – – – – -8 -11- 8- 7- 6- – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – 6- - – – – – – – – – – – – – 4- -6- – – – – – – – – – – – – – – – – -

Now part of the reason I think this riff fits (you may not) is because it fits into what my mind tells me is pleasant sounding music.  To me, because of years of listening to blues and blues based music, from, blues rock to metal, the blending of the notes together of the Bb pentatonic scale and the Bb and Eb dominant chords fits.  There are notes that may not technically fit, but they sound right.

Music, and musicality is highly subjective like that.  You can play all the notes you want, in whatever way you want, and so long as it sounds good to you, it is good music, seeing how good is also as highly subjective a concept as musicality is. 

The proof of that is that you could take that riff, place it in a different key, and it will still fit, and sound just fine.  Trust me, try it out.  Play the chords below, and play the riff on top of that riff, and tell me what you think.

  AbMaj              C Maj            F min

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – 8- 6- – – – 6- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – 6- – 8- 6- 8- – 7- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – 6- - – – – – 8- – 6- -8 -8 – 8- 8- 8- - – – 6 – 8- – – – – – – – – – – – – – – – - 
-6 -7 -8 – – – – – – – – – – – – – -8 -11- 8- 7- 6- – – – – – – – – – – – – – – – – – – – – - 
- – – – – – – – – – – – – – – – 6- - – – – – – – – – – – – – 4- -6- – – – – – – – – – – – – – – – – -

Music doesn’t need to fit precisely in the key the song is played in, as long as enough notes fit the fare, you can take some notes, have them exist well outside of the normal plane of the scale and key and it will sound just fine.  Scales are important to music, to the development of the character of the music all musicians try to create, but it is not the be all, end all most important thing in music. 

Creativity is just as important as theory, use it.

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That’s it for this week.  Thanks for reading!

N.B.:  I was really reaching when I wrote this one, but I wrote it anyway. Hope it doesn’t suck too much.

Lesson 14 – 12 Notes: Phrygian Mode Basics

This was originally posted on ”12 notes”, a page on this website dedicated to guitar music and lessons.  So, for the more musically inclined, here is my fourteenth guitar lesson to you:   Phrygian mode basics.  If you run into any problems, drop me a line and let me know, and thanks for reading! 

Enjoy!

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Lesson 14:  Phrygian mode basics.  The Phrygian mode is the mode that begins, and ends, with the third tone in the major scale.  Think of it like this, the scale shown below is the Phrygian mode in the key of E. If you look at it, you will also notice that it is exactly the same as the C major scale.  The only difference is the fact that the scale begins and ends on the third note of the C major scale.   E-F-G-A-B-C-D instead of C-D-E-F-G-A-B-C.  The root note, E , is in boldface. 

-0 -1 -3 -5 -7 -8 -10 -12 -13 -15 -17 -19 -20 -22 -24 – – – – – – – – – – – – – – – – – – -
-0 -1 -3 -5 -6 -8 -10 -12 -13 -15 -17 -18 -20 -22 -24 – – – – – – – – – – – – – – – – – – -
-0 -2 -4 -5 -7 -9 -10 -12 -14 -16 - 17 -19 -21 -22 -24 – – – – – – – – – – – – – – – – – – -
-0- 2 -3 -5- 7 -9 -10- 12 -14 -15 -17 -19 -21 -22 -24 – – – – – – – – – – – – – – – – – – -
-0 -2 -3 -5 -7 -8 -10 -12 -14 -15 -17 -19 -20 -22 -24 – – – – – – – – – – – – – – – – – – -
-0 -1 -3 -5 -7 -8 -10 -12 -13 -15 -17 -19 -20 -22 -24 – – – – – – – – – – – – – – – – – – -

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To start off, let’s play a four note per string Phrygian scale, just to get it under our fingers.  Here in the key of F.

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -11-13 -14-16-
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 9- 11 -13 -14 – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – -6 -8 -10-11 – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – -4 -6 -8 -10- – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – -3 -4 -6 -8 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
-1 -2 -4 -6 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

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I use the Phrygian mode a fair bit in practice.  It was the first of the modes that I learned, in large part because it is the easiest to play in the open position, and still holds a prominent place in my practice repertoire to this day, over a quarter of a century later.   This one is in the key of E . 

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – -12 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
-9 -7 -7 -9 -10 -12 -14 – – – – – – – – – -9 – 7- 7- 5- 4- - – – – – – - - – – – 0- – – – -
- – – – – – – – – – – – – – – – – - -12 – – – – – – – – - – – – – – – 7- 5- - - - 3- - – – – – – -
-7 – – -8 – – -12 - - -15 – -15 – – – – – -7 – – – 8- - - 5- - – – – - - - - - - - -0 – – – -
-0 – – – – – – – – – – – – – – – - – -0 – – – 0- - – – – – – – – – – – -7 – - - – 1- – – – – – -

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That last one was a fun little riff, but I have to admit, it doesn’t sound great when you try to play it distorted.   Let’s try something a little simpler, and heavier.

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
 – – – – – -2 – – – – – – – – – – – – 2- – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – -2 -0 – – – – – – – – – – -2 – 0- – – – – – – – -10 -10 -10 -7 -10 -9 – – – – – – –
- – -3 – – – – -2 – – -2 – – -3 – – – – – – -2 -2 -2 -7 – -7 – -7 – -7 -7 – -7 – – – – – – –
-1 – – – – – – – – -3 – – -1 – – – – – – - - 0- 0-0 -0 – – – – – – – – – – – – – – – – – – – – – -

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – -8 – – – -10 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 
-9 -9 -10 -9 -7 – -10 – – – -9 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
-7 -7 -7 – 7- 7- 7- 7- - 7- -7 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

Play the opening notes, the F, C, E, D5 bit (In boldface), freely.  I repeat that opening bit twice when I play this, but only put the riff in once, for brevity and spaces sake.  Play the rest of the riff with straight 4/4 time, and play it fast

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 The last riff of the night is a simple little Phrygian power chord riff, this time in A.  This mode lends itself to Metal, with it’s minor tonality and the power chords that are within easy reach of the root note.  Observe, and play very VERY fast.

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
-7 -7 -7 -7 -8 -8 -5 -5 -8 -8 -8 -8 -10-10-8 -8 – – – – – – – – – – – – – – -
-5 -5 -5 -5 -5 -5 -5 -5 -6 -6 -6 -6 -8 -8 -6 -6 – – – – – – – – – – – – – – – – -

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
-7 -7 -7 -7 -7 -8 -7 -5 -10 – 10- - 9- 9- – – – – – – – – – – – – – – – – – – – -
-5 -5 -5 -5 -5 -5 -5 -5 -8 -8 -8 -8 -7 -7 – -8 – – – – – – – – – – – – – – – – - 
 - – – – – – – – – – – – – – – – – – – – – – – - 6- – – – – – – – – – – – – – – – – – – -

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The Phrygian mode is an easy alternative to playing in minor mode, and is easy to master.  Give it a shot, and keep on jammin!

Lesson 13 – 12 Notes: Tapping Basics

This was originally posted on ”12 notes”, a page on this website dedicated to guitar music and lessons.  So, for the more musically inclined, here is my thirteenth guitar lesson to you:   Tapping basics.  If you run into any problems, drop me a line and let me know, and thanks for reading! 

Enjoy!

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Lesson 13:  Tapping basics.  Tapping, two handed tapping, is a great way to augment a solo, create some great music, and it makes you sound like you’re playing at a billion miles an hour, and dammit, that is fun.  Let’s go over the basics. 

A tip: You can tap these single note lines with any finger.  If you are trying to play a solo and are using a pick, there are a few things you can do.  One is hold the pick the way you normally do, and when you go to tap pull your thumb and index finger up and tap a single note line with your middle finger.  Another way to do it is to switch up your index and middle fingers on the pick and tap with your index finger.  There is no right way to do it, whatever works is the right way to think about it.Experiment with it and find what works best for you.  You may end up finding a better and completely different way of doing it.

Place your picking hand on the neck, for the sake of this exercise at the 12th fret, we’ll start off with a simple 2 string exercise.  Anything in Bold is played with your picking hand.

-5 -12 -7 -12 -5 -12 – – – – – – – – -12 -5 -12 – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – -12 -8 -12 – – – – – - - – -12 -6 -12 -5 -12 – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

It is kind of monotonous to tap just one fret,  and the exercise is kinda short, but it is a good place to start.   The next exercise wont have that problem.  A simple arpeggiated sequence next.  The pick hand taps A and B minor sequences, while the other hammers a D and E minor sequence.

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – -10 -3 -12 -5 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – -9 -2 – – – – – – – – – – -11 -4 – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – -10 -3 – – – – – – – – – – – – – – – – – – – -12 -5 – – – – – – – – – – – – – – – – – – – – – -
5 -12 -5 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -14 -7 – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

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A Video for you:  A two handed tapping legend, Stanley Jordan here plays the Led Zep tune Stairway to heaven at the Montreaux Jazz festival.   What he is doing there is clearly light years ahead of anything going on in this beginner tapping lesson.  Watch and be inspired!

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Next up, a simple double stop tapping exercise.  When doing this exercise, and you move your pick hand from the 7-7 position to the 7-6, to get your hand into position you should move your entire arm parallel to the neck, otherwise you will have a hard time getting your pick hand into position

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
0 -2 -7 -0 -2 -7 -0 -2 -7 -0 -2 -7 -0 -2 -6 -0 -2 -6 -0 -2 -6 -0 -2 -6 -
0- 2- 7- 0- 2- 7- 0- 2- 7-0 -2 -7 -0 -2 -7 -0 -2 -7 -0 -2 -7 -0 -2 -7 -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

Sometimes, timing between the two hands can really create some interesting and intricate sounding riffs. For the final exercise of the night, a simple but beautiful sounding timing exercise. Played properly, this exercise should have a triplet feel to it.

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – 7-10 - – – – -7 – – – – – – – – 7-10 - – – – – 7- – – -0 -5 – – – 9- 0- 5- – – – -
-0 -5 – – – – – -0 -5 – – -10 -0 -5 – – – – – -0 -5 – – -10 - – – – – 7- - – – – – -7 -10-
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
-0 -5 – – -9 -0 -5 – – – – – -12 -0 – – – 9- – – – – – – -9 -12 – – – – -9 – – – – – – -
- – – – -7 – – – – – – -7 -10 – – – – – -7 – – -12 -0 -7 – – – – -0 -7 – – -12 -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – - 

If I knew a way to put in a repeat sign in tablature form, I would place it at the end of each of these pieces.  I have really only scratched the surface as far as the possibilities of two handed tapping is concerned.  For those interested in hearing the possibilities of two handed tapping there are a number of truly great musicians who have done amazing things with the technique.  My personal favorites are Eddie Van Halen, the progenitor of the technique in modern music, and Stanley Jordan. 

There is much more to cover here, so you can be certain that I will be revisiting this with some more advanced exercises at some point.  If you see anything that throws you off, or you don’t understand something, drop me a line and let me know. 

Thanks much for stopping by!

Lesson 12 – 12 Notes: Speed Drill

This was originally posted on ”12 notes”, a page on this website dedicated to guitar music and lessons.  So, for the more musically inclined, here is my twelfth guitar lesson to you:   Speed drills.  If you run into any problems, drop me a line and let me know, and thanks for reading! 

Enjoy!

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Lesson 12:  Speed drills.  Speed is crucial to all guitar players, Jazz guitarists, death metal guitarists, all guitarists, we are all in the same boat.  Playing fast is necessary, but playing fast and precisely is difficult, there are things you can do to play fast, and the exercises are relatively easy.

The things you should do are 1) alternate picking  2) synchronize your hands, making sure playing is precise and all notes are crisp 3) increase speed(DUH) to maximum on one string 4)  go from playing one string to several. Pretty damn obvious, but here obvious works. 

For a few alternate picking exercises, click here for lesson 7, alt. picking exercises. 

I generally start out using a metronome (click here to go to metronomeonline.com)  and start playing with a moderate tempo, 100 Beats per minute or so, (you can go slower if you need to, and faster if you please) and I increase my speed incrementally, while playing four notes per beat, until I hit top speed (or what passes for top speed).  After you are comfortable with your speed, increase the speed of the metronome until you can no longer play four notes per beat and play precisely.  Remember, the best way to go is start slow and get faster gradually. 

Part I:  Single string exercise.  Here I am playing a simple 3 note repeater riff. 

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
-0 -2 -3 -1 -3 -4 -2 -4 -5 -3 -5 -6 -4 -6 -7 -5 -7 -8 -6 -8 -9 -7 -9 -10 -8 -10 -11 -9 -11 -12
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – …etc, etc, etc

Continue the exercise all the way up the neck and then play the exact same 3 note repeater riff all the way back down the neck, and on all six strings.  If you can get to the 24th fret, take it that high.  If you’re on an acoustic and can only reach up to the 18th fret or whatever, go that high, but play it as far as you can up the neck.

Part II:  Two string exercise.  Similar in scope to the first exercise, but different in that it is in Lydian mode and is an eight note pattern

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – -2 -3 -2 – – – – – – – – – – -3 -4 -3 – – – – – – – – – – -4 -5 -4 – – – – -
- – -1 -3 -5 – – – – – – -5 -3 -2 -4 -6 – – – – – – -6 -4 -3 -5 -7 – – – – – – -7 -5 -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – -5 -6 -5 – – – – – – – – – – -6 -7 -6 – – – – – – – – – – – – 7-8 -7 – – – - 
- – - – -4 -6 -8 – – – – – – -8 -6 -5 -7 -9 – – – – – – -9 -7 -6 -8 -10 – – – – – – -10 -8
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – …etc

Play this like the first exercise, as far up the neck as you can go and play all the 2 adjacent string combinations. Remember to play using the metronome, and playing 4 notes per beat.

Part III: Multi string exercise.  This one I do a little differently that the other two, in that I don’t do this bit on every string combination (though you could) or do this up and down the fretboard (again, you could), and that there are 4 notes per string unlike the others.

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – -12 -13 -14 -15 – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – 12- 13- 14- 15- – – – – – – – – – – – -12 -13 -14 -15 – – – – – – – – – – – -
-12 -13 -14 -15 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –  – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

- – - – - – - – - – - – - – - – - – - – - – - – - – - – - – — – – – – – – – – – – – – – | 
  – - – - – - – - – - – - – - – - – - – - – - – -13 -14 -15 -16 – - – - – - – - – – - -|
- – - – - – - – - – - – -13 -14 -15 -16 – - – - – - – - – - – - -13 -14 -15 -16 |
-13 -14 -15 -16 – - – - – - – - – - – - – - – - – - – - – - – - – - — – – – – – – – |
- – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – – – – – – – – – – – - - - -| 
- – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - - |

Part IV:  Go nuts. Seriously, go nuts.  The other exercises always feel controlled.  This one, for me at least, never does.  It has to do with the rapid, long position changes.  That gives this particular exercise a very frenetic feel.  Despite that feel it is actually a pretty easy exercise.

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -1 -2 -3 -4 -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 5-6 -7 -8 – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – 9- 10-11 -12 – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – -9 -10 -11 -12 – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – -5 -6 -7 -8 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
-1 -2 -3 -4 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – - – – – – – – 5-6 -7 -8
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 9- 10- 11- 12- – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 12- 13- 14- 15- – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – -12 -13 -14 -15 – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – -9 -10 -11-12 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
-5 -6 -7 -8 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

Perhaps the best piece of advice I can give is to be patient and controlled speed will come.  And speed needs to be controlled, if it isn’t it becomes indistinct, crappy sounding noise, and that is not the point of playing fast. 

Sometimes, when I begin playing speed exercises I’ll match the speed of the metronome, but only play the first note, and only one note per click for a 4 or 8 count, then I’ll double up and play that same single note at 2 notes per click for the same 4 or 8 count, and then double that again and play that same single note at 4 notes per click.  Call it shifting into gear.  It helps when trying to play fast to warm up like that, especially when pushing the envelope, going all out speed wise. 

Playing these exercises , and other like them, will only make you faster if you push outside of your comfort zone and try to play faster than you think you are capable, and leave it all on the fretboard.  You know your doing it right when you feel like you just worked out when you are done.

Now I am not super fast, never have been, but when I play fast every day, I do notice my speed does increase.  I’ve been going at the speed exercises every day for a while, and I am faster because of it.  Not gonna say how fast mind you, don’t wanna embarrass myself.

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That’s it for this weeks installment.  Hope you have fun ripping up the fretboard, I know I did.  Enjoy!

Lesson 11 – 12 Notes: The Double Harmonic Major Scale

This was originally posted on ”12 notes”, a page on this website dedicated to guitar music and lessons.  So, for the more musically inclined, here is my eleventh guitar lesson to you:   The double harmonic major scale.  If you run into any problems, drop me a line and let me know, and thanks for reading!

Enjoy!

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Lesson 11:  The Double Harmonic Major scale, aka the Arabic or Byzantine scale.  I love using this scale, it is really a ton of fun to play with, especially when I’ve had just about enough of standard sounding playing.  For those who don’t know this scale, every note in the double Harmonic scale in the key of E is below.

-0 -1 -4 -5 -7 -8 -11 -12 -13 -16 -17 -19 -20 -23 -
-0 -1 -4 -5 -6 -9 -10 -12 -13 -16 -17 -18 -21 -22 -
-1 -2 -4 -5 -8 -9 -10 -13 -14 -16 -17 -20 -21 -22 -
-1 -2 -3 -6 -7 -9 -10 -13 -14 -15 -18 -19 -21 -22 -
-0 -2 -3 -6 -7 -8 -11 -12 -14 -15 -18 -19 -20 -23 -
-0 -1 -4 -5 -7 -8- 11 -12 -13 -16 -17 -19 -20 -23 -

As you can see from the above fretboard map, there are some very conventional sounding chords that can be used within the context of this exotic scale.  Fifth chords, major chords, minor chords.  That isn’t a surprise, and shouldn’t be.

In the Key of E Major, the notes are E, F#, G#, A, B, C#,  and D#  In double harmonic Major the notes are E, F, G#, A, B, C, and D#.  The reason it sounds so exotic is, in part,  the intervals.

You do not for example, in standard scales, normally run into 3 notes in a row without one of them having a whole tone interval between them.  You do here.  The seventh, root, and second notes have no whole tone separation between any of them.  On top of that, the flat second followed by the major third and flat sixth followed by the major seventh makes for a separation called an augmented second.

But enough theory for the moment.  Let’s play a few notes.  Basic stuff here.  I am actually going to take what is ostensibly an  “exotic” scale, and make it sound more conventional. When playing this, it sounds best when you slide using your index finger from the fourth fret to the eighth fret on the third string, and again from the tenth to the twelfth fret on the second string.

- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -12 – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -10 -12 – – – – – – – -
-9 – – – – -9 – – – – – – 10- – – – – -10 – – – – – – – – – – – -4 -8 – – – – – – – – – -9 – – – – – – – -
- – – -6 – – – – – -6 – – – – – – – 7- - – – – – -7 – – – – – 7- – – – – – – – – – – – – – – – – – – -
- -7 – – – – – -7 – – – – – – -0 – – – – – -0 – – – -0 -8 – – – – – – – – – – – – – – – – – – – – – – -
-0 – – – – -0 – – – – – -8 – – – – – – -8 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

As witnessed above, this scale can sound tame, but I touched on a bit of the exotic sound of the scale.  Let’s explore the scale a bit more.  This time let’s take advantage of the more esoteric nature of the scale.  After the opening A, there is a series of major thirds, starting with the fifth tone of the E double harmonic scale.  That  E-F-E  on the high E string should be played as a trill.

- – – – – – – – – – – – – – – – – – – – – – – – – -12 -12 -13 -12 -11 – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 13- 10- 9- 12- – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – -1 – – – 2- - – – – – – 6- – – -7 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
-0 -2 – – -2 – – -3 -0 -7 – – -7 – – – 8- – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

- – – – – – – -12 -13 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
- – – – -10 – – – – – – -13 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -
-0 -9 – – – – – – – – – – – – -14 -13 -9 – – -9 -9 – – -9 – 8 -5 – – – – – -9 – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – -9 -10 – -7 -6 – – – – – – – – – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -8 – – – – – -7 – – – – – – – – -
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -0 – – – – – – – -

There is nothing but fun playing with the double harmonic.   I use variations of this riff all the time when I want to get away from the standard sound of the major scale.

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I hope this lesson treats you well, one and all.  I think I may have to touch on this again, simply because I don’t feel like I’ve done the possibilities of this scale any real justice here.  And as always, if you have any questions or issues about this or any column, feel free to drop me a line.