Patterns to Success Part IV

The Patterns to Success part 4

"I like's me Cookies."

Well hopefully you've got the patterns in your fingers and
most of the ideas in your head.

I know it's smokey up in your head but I think I see some
room next to the dangers of playing with matches.

Were gonna get into the numerical aspect which you
probably already have grasped or got a good idea about.

No matter what anyone tells you numbers are very very important in music.

If you have your numbers down straight you will have an
understanding of music in general far greater than
you would without.

In the t.v. show 3rd rock from the sun there is a scene
where the character Dick sees a piano for the first time
at a family gathering. After hearing the tones he fiddles
a bit and then says "this is simple mathematics" and
continues to play the instrument fluently. While
this is a bit far fetched there is alot of truth in it
and if your familar with a piano you know it is very
easy to get acclimated quick with the notes. It's
design is the definition of simple in musical terms
but the piano as well as everyone other instrument for
that matter is nothing compared to guitar.

All other musicians can only salivate at the variety of
things a guitarist can do that they cannot.

A saxophonist can get much faster quicker, but no
matter how hard he tries he can never fully emulate a guitar.

The myriad of techniques can be talked about endlessy not
to mention the ability to play multiple notes in multiple
directions.Few instruments offer the ability to ascend or
descend in two different directions.

Back to numbers..........

C Ionian

C-1 D-2 E-3 F-4 G-5 A-6 B-7

Above we seen the C Ionian scale which is noted in the patterns as ion.

C Ionian or C major is the basis for all numbering and
every other scale or pattern is generally compared to it.

Of course when comparing minor scales one may compare to
Aeolian to make it easier to blend scales but ultimately
Aeolian is even compared to Ionian.

It is through this numerical comparison that we discover
the true differences in the scales and what exactly makes
a minor scale a minor scale,minor tonalities, smoother
scale degrees for Jazz etc........

C Lydian (shown as lyd)is C Ionian with a Sharp 4th.

C Mixolydian(shown as mix) is C Ionian with a flat 7th.

It is these slight variations that help define the true
sound of the scale.

Don't worry I will discuss every modes scales degrees or
numbers in full detail to give you an understanding of each
paticular sound and reason for the sound and applications.

This sounds difficult but it is very easy and once this notion is fully established we can take off on our journey
to soloing success.

But for now take note of the numbers in the patterns.

For instance ion or Ionian.

Take it through the patterns steps counting 1 2 3 4 5 6 7
and back to the root ion.

So number ion to ion,dor to dor, phy to phy etc

Don't be obsessive about it just be aware of the numbers.

Ionian -5th or number 5-Mixolydian

Aeolian-7th or number 7-Mixolydian

Dorian-3rd or number 3-Lydian

Lydian-5th or number 5-Ionian

Just start to get aware of the numbers and we'll get alot
more into it next time.

Don't stress or cram just absorb, have fun, be patient
If your working on the names and patterns stick with it
and if need be I can derive everything into those names
but I know the numbers will greatly help and with both
you will be unstoppable!!!!!!!!!!

In future descriptions I will describe it both ways for
those who choose to focus on one and to also help
you learn both.

"Sharpen the 7th of Aeolian, oh okay the Mixolydian note"

Fantastic rewards await!!!

"in the darkness they will gather conjuring the ONE."

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


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-


Above we see pattern #5 of the original patterns.

If we look at it in C Ionian which is our original starting

The roots would be here (for C Ionian)


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.


Above we see D Ionian, As you can see same step pattern, same

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

"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.

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

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

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

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.


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.




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.


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!


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.


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"

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

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

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


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.....

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

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."

"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

"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

"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."