## Patterns to Success Part IV

Kenny

Kenny

 Let's take a quick review. We have presented the 5 patterns to study. We established we only need to know these 5 patterns and name each scale step by both modal name number We have given the modal names in tab form identical to the original patterns but instead of a fret number we have replaced it with the modal name. So if we match up both to make it easier we see the tabbed out pattern and each scale step modal name. We established the patterns are moveable to change key. Each scale degree is the root of the next mode. Let's look at some examples- e--------------------------------------------------12-13-15 b----------------------------------------12-13-15---------- g---------------------------------12-14-------------------- d----------------------12-14-15----------------------------- a-----------12-14-15--------------------------------------- e-12-13-15-------------------------------------------------- Above we see pattern #5 of the original patterns. If we look at it in C Ionian which is our original starting point. The roots would be here (for C Ionian) e-------------------------------------------------------- b--------------13---------------------------------------- g--------------------------------------------------------- d--------------------------------------------------------- a---15---------------------------------------------------- e--------------------------------------------------------- Above are the roots in pattern #5 for C Ionian. They are easily distinguishable as the C notes in the pattern. So by moving the patttern up the neck (towards the bridge) We move up a 1/2 step (C#) 1 more 1/2 step (D) So by moving up a whole step which is two 1/2 steps or 2 frets. We are now in D Ionian. e---------------------------------------------------14-15-17 b------------------------------------------14-15-17--------- g-----------------------------------14-16------------------- d------------------------14-16-17--------------------------- a------------14-16-17--------------------------------------- e-14-15-17-------------------------------------------------- Above we see D Ionian, As you can see same step pattern, same roots. Take the time to learn Ionian first, then move to the next scale degree Dorian and so on. Bear in mind it's always the same universal patterns we are using now. It's just each scale degree starts on the next note. Get the patterns in your finger memory first!! Memorize the patterns. Once we have an understanding of the patterns, modal name and number we can then move on to endless solo fun with simple alterations here and there. Once the cheat sheet is posted every scale and solo will fit into our original 5 patterns with a bit of alteration here and there. So instead of learning 500 patterns you will only need to know these 5 as best as you can FOREVER!! That's right you got the rest of your life with these 5 to get better and better. Kid Tested Mother Approved
Kenny

 "Everybody run the homecoming queens got a gun" Well let's go over the numerical aspect some more. As mentioned all scales are compared to Ionian. So let's give the scale degrees for the modal names we have presented. Ionian 1-2-3-4-5-6-7 Dorian 1-2-flat3rd-4-5-6-flat7th Phyrgian 1-flat2nd-flat3rd-4-5-flat6th-flat7th Lydian 1-2-3-sharp4-5-6-7 Mixolydian 1-2-3-4-5-6-flat7th Aeolian 1-2-flat3rd-4-5-flat6th-flat-7th Locrian 1-flat2nd-flat3rd-4-flat5th-flat6th-flat7th Above is the scale degrees for the seven modualar names. If it helps great! If not absorb it from this standpoint. 1. We will always be dealing around the number 7 either we will delete scale degrees or alter them or make additions but we will always deal around the number 7. 2. All these modes are in the patterns already presented. We are just relating them to Ionian which is regularly done but as I have said relating minor scales to minor scales and major scales to major scales probably will make it easier for you to toggle back and forth if you'd like. Aeolian - Dorian is Aeolian with a sharp 6th. Phyrgian is Aeolian with a flat 2nd Ionian - Lydian is Ionian with a sharp 4th Mixolydian is Ionian with a flat 7th 3. Remember get the patterns in your finger memory play them over and over and over and over again.
ebick

 Kenny wrote: "Everybody run the homecoming queens got a gun"

Oh my goodness!!!! Let me get my Dr. Demento tape out!
Kenny

 LOL, It certainly was an odd reference wasn't it.
Kenny

 Well you've probably made some personal breakthroughs and found out that these patterns apply to everything on that funny stringed instrument. What's it called again? Simple chord theory, which you all probably know fits right into the patterns just like everything else. I-IV-V The 1st,4th,5th chord theory is one of the first things a person learns on the guitar, unless your Tab Benoit. Are you Tab Benoit? It's a simple theory that the 1st or root and the 4th and the 5th always sound good in a song. and it's in a kajillion zillion songs. C-F-G D-G-A E-A-B Above we see the theory represented in C, D and E and simple enough, it is just the 1st, 4th, and 5th of the scale. You see how those numbers pop up again. These are the same numbers we use for the patterns. In C Ionian C root F Lydian G Mixolydian These are the Major modes and they fit right in number wise and name wise. ii-iii-iv Here's the other chord theory folks learn second on the instrument. and that is that the 2nd, 3rd, and 6th sound good together. Players have been mixing these 2 ideas over and over to make songs forever! Dm-Em-Am Above we see this simple theory applied to C Major and again it's the minor modes. It fits right in by number and name but what doesn't. You don't need to learn everything in chunks and globs and then relearn it again in a different way as it applies to scales or vice versa. This applies as well to chord tones, which are the notes that make up a specific chord. I can give the chord tones for just about every chord you'll need if you'd like and you'll see it fits right in. Numbers Modal Name You'll see with the cheat sheet that all the other scales will fit into our patterns presented. So instead of learning quasikajillabillion scale patterns you'll just really know 5 awful well. Beleive me this will make it alot easier to mix, add notes and be original. Until you don't even fool with it anymore and it's hard wired in your head. Watch out for short circuits and please don't rent any of the Short Circuit movies but do rent Crossroads. "Eugene you wanna Head cut"
DanK

 this is helpful stuff, i urge people who wanna learn guitar to learn this stuff. this stuff helps, i was gonna write something like this but i can't word it quite so well, nor can i come up with so many random quotes to keep it interesting. keep it up kenny
Kenny

 Thank you Mr. Dank. Your smokey evervescent wisdom fills our minds and lungs.
Kenny

 I will post the cheat sheet if it won't confuse the hell outta ya or if ya even still like guitar. Ya know that wood and metal thing in the corner of your room. So please post and ask what you want, or the cheat sheet. Keep practicin.....................
Cosmic C

 Kenny, How 'bout a cheat sheet that shows some scales with the added notes that you spoke in the other section?? That would be darn tootn' !!!_________________Truckin' in style along the avenue.....
Kenny

 The cheat sheet idea is designed to work with the 5 patterns and show easy alterations to adapt and use it with hundreds of scale ideas, foreign and domestic. The scale additions ideas which frankly apply much easier and more truly to Mr.Garcia's playing would be more better explained and understandable to the reader by showing examples in patterns, scale definitions in G D songs and notable uses for playing. Chalk talk 3 breifly takes a stab at additions and has some great ideas. I will continue on the "what notes not to play" thread and build on it unless you have a better idea. Is this an exceptable way to go? Is a cheat sheet a better answer? I'm afraid in this frame of thinking it wouldn't come across as well. Thanks for the input. Let me know what's best for you and I will happily abide. "Silly rabbit TRIX are for kids."
Kenny

 "hey I heard you missed us were back!" It's been a while but are the patterns in your head and fingers a bit more. This is rather simple but we'll take a look at how pentatonic scales fit into the modes. C Ionian C D E F G A B C Major pentatonic C D E G A Above we see the C Ionian scale and the C Major pentatonic scale. What are the differences? The differences are the 4th (F) and the 7th (B) These are the same notes that are the differences between the 3 Major modes. C Ionian C D E F G A B C Lydian C D E F# G A B C Mixolydian C D E F G A A# Above we see the 3 different Major modes. The difference between the Ionian and the Lydian scale is the sharpened 4th (F#) The difference between the Ionian and the Mixolydian scale is the flattened 7th (A#) Since the Major pentatonic does not contain the 4th or the 7th........... It's notes and patterns fit right into the 3 Major modes. "If your gonna get stoned all day and listen to Ozzy Osbourne records..........Hell is gonna be a crowded place...................but I'll be there So we'll have a good time!" Ozzy Let's apply this to the minor modes. A Aeolian A B C D E F G A pentatonic minor A C D E G Above we see the A Aeolian scale and the A pentatonic minor scale. What are the differences? The differences are the 2nd (B) and the 6th (F) <6th of Aeolian=flat 6th Ionian> These are the same notes that are the differences between the minor modes. A Aeolian A B C D E F G A Dorian A B C D E F# G A Phyrgian A A# C D E F G Above we see the 3 minor modes. The difference between the Aeolian scale and the Dorian scale is a sharpened 6th (F#) The difference between the Aeolian scale and the Phyrgian scale is a flattened 2nd (A#) Since the minor pentatonic scale does not contain the 2nd or the 6th.......... It's notes and patterns fit right into the 3 minor modes. "Sources report a radical hippie element." "There was Newport, but they owned the place!" Locrian may seem like an out there diminshed mode. and in many cases folks will never use the scale in a rock context. Let's take a brief look at this scale littered with minor tonalities and a bit more. B Ionian B C# D# E F# G# A# B Locrian B C D E F G A above we see the Ionian scale and the Locrian scale. The Locrian has a flat 2nd, flat 3rd, flat 5th, a flat 6th, and a flat 7th. What mode do these scale degrees closely relate to the most? That would be Phyrgian. Locrian is Phyrgian with a flat 5th. B Locrian B C D E F G A B Phrygian B C D E F# G A Now it may seem not so out there to you but it is the flattend 5th that makes it a diminished mode. "Everytime a kid would feel the music and get on his feet he was beat back down again by a policeman."