The Mechanics of Metal Series

A state-ol-the-art instruction course designed to help beginning,

intermediate, and advanced guitarists master the art 01 heavy
metal guitar playing.
Lesson 1: Heavy Metal Chord Guide (with accompanying
cassette tape)
Lesson 2: Total Scales and Modes (with accompanying
cassette tape)
Lesson 3: Technique and Exercises (with accompanying
cassette tape)
Lesson 4: Tricks (with accompanying cassette tape)
Lesson 5: 100 Versatile Licks and Runs (with accompany-
ing cassette tape)
Mechanics 01 Metal" Publications
P.O. Box 162
Howard Beach, N.Y. 11414
The Mechanies ol Metar- Series
A Sound and Organlzed Approach to the
Masterlng ol Heavy Metal Gultar'-
Lesson 2: Total Seales and Modes
All material written, narrated, and perlormed
by Peter Greenlield.
COPf l llbt CI 1986 by Pete, O.euflel4.
ALL t llllu .eM:'Yed. No portLon of tlle material
ma, be In an, manl\t! l ..,"at_ver ..,Ltllout pel mLuLon.
-
Author's Note
Please read all the material In this booklet BEFORE going on to
the cassette tape. Once you've galned a complete
understanding oC al1 the written material, use the cassette tape
to reinlorce and further expand your learning experience.
Much eare has been taken so that aU the material
presented in the Mechanics al Metar-' series can be understood
by guitarists at almost sny level ol playlng ability, even those
with minimal knowledge ol musie. To obtaln the most benefit
trom thls course, re8d through all materia! carefully. Try to
absorb each idea completely belare going on. Ir confusion
shouJd occur at any point, review the troubled area. Alter
going over it 8 few times, it shouJd make sense.
Please note that 8 small number placed aboye any word or
ter m Indicates the lesson in which that word or term is
dlscussed more thoroughly. Por example, on page 5, a small "1"
appears aboye the ter m "chord construction". Thls means that
chord construction is discussed thorougbly In Lesson 1. These
reterences are provided primarUy lor those who have ordered
this lesson individually, and not the entire Mechanics ol Metal'"
course.
I hope that Lesson 2 enables you to advance your guitar
playlng. Good luck.

Today's heavy metal guitarist ls ver-y scale oriented. The
rock guitarists ol ol earlier years seemed to base their style
more around repetitive, bluesy soundlng licks. You can still
hear a blues influence in many ol today's top metal players, but
flying up and down exot ie sounding seales has beeome part ol
the credentials ol the twentteth centur-y heavy metal guitarist.
Scales can be used to create an atmosphere or depict a mood,
as well as provide the lramework lor flashy, lightening fast
runs. Once you've gained a solid knowledge ol their application,
you can use seales to create countr-y, bluesy, eerie, or sweet
melodic sound qualities, whether you're playing a speedy
barrage al notes or slaw, tasty lines.
Let's get started. Scale eanstruetian is very similar to
chord construct ion.1 All seaIe types are constructed from the
majar scale oC the same letter name. Any type of "A" scale,
whether it i5 A blues, ' A diminished, A harmonle minar, etc.,
will be eonstrueted from the A majar seale. Any type oC "O"
5caIe (O blues, O diminished, etc.) is eonstructed from the O
majar seale, and so forth. The major seate ls the "Big Daddy".
That shouldn't be too hard to remember. After a11, it is ealled
the "majar" scale!
If all ehords and scales are eonstructed from the majar
seale, where does the majar seale itsell come from? Wel1, the
majar scale has ts own l ormula for construetian. The majar
scale is made up of whole-step and halt-step "intervals". An
interval is the amount al distanee between two notes. It was
pointed out in Lesson 1 that a half-step is equal to the distanee
al one fret on the guitar. B to e, e to e#, e# to O, etc. are all
half-step intervals. A whole st ep is equal to the distanee al
two frets. B to e#, e# to 0#, 0 # t o F, etc. are all whole-step
intervals.
The majar se ale is construeted trom the foUowing arder
of intervaIs: whole-step, whole-st ep, half- step, whole-step,
whole-step, whole-step, half-step. The majar seale contains
seven difterent notes, starting and ending on the tonie. (The
tonte is also known as the key eenter al' root - the letter name
of the seale.) The eighth degree ot the majar seale is one
octave' higher than the first degree.
5
The major scale Is Usted below in al1 keys. Not lce that
each key contains a dltterent amount ot sharps and tIats. This
is because each key must be altered in a ditterent way to tit
the major scale lnterval pattern. There are seven keys
containing sharps and seven keys contalning tlats. The key oC e
is the only key that contains no sharps or fIats. (It there is any
contusion concerning sharps ( , ) and nats ~ ) , pIease reter t o
Lesson l .)
Key oC e: e D E F G A B e
VVVVVVV
WhoIe- lWhoI. HaIf_ WhDIe- WboIo- WhoIe- H.N'.
Slep Sltp SUp Sttp Sl.p Sttp Slep
KeyoC G: G A
Key of D: D E
Key of A: A B
Key of E: E PI
Key of B: B o
Key of FI: FI GI
Key of o: el DI
Key of F: F G
Key oC Bb: Bb e
Key of Eb: Eb F
Key oC Ab: Al Bb
Key of Db: Db Eb
Key of Gb: Gb Ab
Key of eb: CI Db
B
FI
el
GI
DI
Al
El
A
D
G
e
F
Bb
Eb
e
G
D
A
E
B
FI
Bb
Eb
Al
Db
Gb
eb
Pb
D
A
E
B
PI
el
GI
e
F
Bb
Eb
Ab
Db
Gj,
E
B
PI
el
GI
DI
Al
D
G
e
F
Bb
E'
Al
PI
el
GI
DI
Al
El
BI
E
A
D
G
e
F
Bb
G
D
A
E
B
PI
el
F
Bb
Eb
Al
Db
Gb
eb
Now that we have covered majar scale construct ion, let's
see how the major scale is used to construct a1l other scale
types. Just as every chord type has its own tormula tor
construction, every scale type has its own tormula too. The
formula tor the blues scale is 1, ~ 3 , 4, ~ , 5, ~ 7 . This means that
the blues scale conssts ot the tlrst degree (or root), tlatled
6
third degree, fourth degree, tlatted tifth degree, titth degree,
and tIatted seventh degree ot lts major scale. To construct a
blues scale in any key, apply the blues scale formula to the
major scale of the deslred key.
Blues Scale eonstruction - Key ot A
A major scale: ABelDEFIGlA
123 . 561 8
Blues scale tormula: 1, ~ 3 , 4, Mi, 5, ~ 7
A blues scale: A, e, D, Eb, E, G
To construct a diminished scale in any key, apply the
diminlshed scale tormula to the major scale ot the desired key.
Dl minished Scale eonstruction - Key ot E
E majar scale:
Diminished scale formula:
E diminished scale:
EPlGlABOIJIE
1 23 4 561 8
1, 2, ~ 3 , 4, b5, !,6, 6, 7
E, 11;, G, A, Bb, e, e#, D#
To construct a harmonic minor scale In any key, apply the
harmonic minor scale tormula to the majar scale of the desired
key.
Harmonic Minar Scale Construction - Key of G
G major scale:
Harmonic minor scale formula:
G harmonic minor scale:
7
GABeDEPlG
123 4 5 6 7 8
1, 2, b3, 4, 5, b6, 7
G, A, S'" e, D, &, F;I
All the dltterent scale types are constructed in the same
manner. You just need to know all the tormulas, which will be
indicated later on.
It is also quite Important tor you to know the chords that
correspond wlth each scale type tor improvisation. In order to
understand how chords and scales interrelate, you'll need to
gain a complete understanding ot "diatonic" chord harmony.
(Diatonic meaning coming trom or relating to a particular key.)
Below ls the e major scale written on the musical statt.
We are now golng to "harmonIze" the e major scale. Thls
means to actually "stack" two more notes on top ol each note in
the e majar scale to torm trlads} Only notes contained in the
key al e major may be stacked. (No sharps or tlats.)
Once the e major scale Is harmonized using three notes,
the tollowing trlads result:
e majar
O minor
E mlnor
P majar
(e, E, G)
(D, P, A)
(E, G, B)
(P, A, e)
G majar
A minar
B di m inished
e major
(G, B, D)
(A, e, E)
(B, D, P)
(e, E, G)
The aboye chords are sald to be diatonic to the key ot e
8
major. It any major scale Is harmonized with three notes, these
chord will always resulto
We can now conclude the tollowlng ntormation about the
triads contained In any glven key:
The 1 chord is a major triad.
The 1I chord Is a mlnor triad.
The m chord la a minar triad.
The rv chord ia a majar triad.
The V choro la a major triad.
The V1 choro Is a minor triad.
The VII chord Is a dlmlnlshed triad.
The VUI chord 1s a major triad.
Note: It la standard practice to use Arablc numerals when
describing the single note degrees ot a scale, and to use
Roman numerals when describing chords.
To tind the triada contalned withln any glven key, it la not
necessary to go through the process ot harmonlnzlng the key's
major scale. Simply apply the principies that you've learned
about the chords diatonic to any key. Suppose you wanted to
know the triads contained in the key ot G major. Below ls the G
major scale. Al! the scale degrees have been numbered.
GABeDEFlG
1!3 4 S li l 1
Since the first degree ol the G major scale ls "G", the I
chord In the key ot G is G major. Stnce the second degree ol
the G major scale is "A" the U chord in the key ol Gis A minoro
The III chord is B minor, the IV choro la e major, the V chord is
o major, the V1 choro Is E minar, the VII choro Is diminished,
and the VIII chord ls G major. Use thl! method to tind the
triads contained in any Iven key.
9
We are now going to go back to the e major scale and
stack one more note on top ol each triad.
Once the e major scale
the following chords result:
is harmonized using four notes,
e major 7
D minor 7
E minor 7
P major 7
(e, E, G, B)
(D, P, A ,e)
(E, G, B, D)
(F, A, e, E)
G dominant 7
A minor 7
B minor ns
e major 7
(G, B, D, F)
(A, e, E, G)
(B, D, P, A)
(e, E, G, B)
The aboye chords are diatonic to the key of e major. Ir
sny major scale is harmonized with four notes, these chord
!I2!! will always resulto
We can now conclude the following information about the
chords contained in any given key:
The 1 chord is major 7.
The 11 chord is minor 7.
The IIJ chord is minor 7.
The IV chord is major 7.
The V chord is dominant 7.
The VI chord is minor 7.
The VII chord is minor 7b5.
The VIlI chord is major 7.
Apply the principies of diatonic chord harmony to find the
major 7, minor 7, and dominant 7 chords centained in any key.
Actually, you wen't see too many ef the aboye chord types
in heavy metal. It has already been pointed out in Lesson 1 that
10
most heavy metal chord progressions (a progression is an
organized sequence of chords) consist 01 power chords.' It was
al50 pointed out in Lesson 1 that although the power chord is
neither major nor minor, it may "function" as a major or minor
chord in a given progression.
A chord progression consisting of E minor, e major, D
major, and B minor is in the key 01 G major. If that same
progression consisted ol power chords onIy, it wouId still be i,n
the key of G major. The E power chord functions as an E minor
chord, the e power chord functions as a e majar chord, the D
power chord functions as a D major chord, and the B power
chord functions as a B minor chord. Whether a progression
consista of "seventh" chords, triads, or power chords, it is
important to know which key the progression is associated with
in order to apply the proper scales lor improvisation.
By the way, even though you don't use them too often in
heavy metal, you may want to make up some progressions using
majar 7, minor 7, and dominant 7 ehord types. Once you know
the proper scales to use over them, they provide an interesting,
"jazzy" ehange of pace for improvising.
Befare we get to the scales, 1 would like to diseuss one
more aspect of music theory. Every major seaIe is associated
with what is known as its "relative minor" scale. The relative
minar scale contains the same notes as its major scaIe, except
that the relative minor starts and ends on the major seaIe' s
sixth degree.
Look back at the G major seale. The sixth degree of the
G majar seale is "E". If we take the exaet notes of the G major
scale (which ncludes an PII), and arranged them starting and
ending on the scale's sixth degree, the result wouId be as
follows:
EFI GABCDE
The aboye scale is caBed E relative minor (also known as
11
pure minor, natural minor, and the aeolian modelo
relative minor seale contains the same notes as the
seale. E minor is said to be relat ive to G major.
The E
G major
Now look baek at the C major seale. The sixth degree of
the C major seale is "A". lf all the notes eontained in the e
major se ale (no sharps or f1ats) are arranged starting and ending
on the seale's sixth degree, the result would be as follows:
ABCDEFGA
The abo ve seale is ealled A relative minoro It eontains
the same notes as the C major se ale. A minor is relative to e
major.
The ehords eontained in the relative minor key are also
the same chords as eontained in its major key. The only
differenee is that the relative minor key starts on the VI ehord.
Chords in the key of G major:
G maj or, A minor, B minor, C major, D major, E minor, F:
diminished, G major.
Choros in the key oC E minor:
E minor, F: dlminished, G major, A minor, B minor, e maj or, o
major, E minoro
Chords in the key of e major:
e major, D minor, E minor, F major, G major, A minor, B
diminished, C major.
Chords in the key of A minor:
A minor, B diminished, C major, D minor, E minor, F maj or, G
major, A minoro
12
Unless one is speaking of the exact order in which the
notes or chords occur, a song or choro progression may be
named by its major or minor key. Beeause most heavy metal
songs and ehoro progressions revolve around power choros that
function as minor chords, they are usually named by the minor
key.
We will now explore the different seale t ypes as they
appear on the guitar fingerboard. For eaeh seale type, at least
five different fingering patterns will be illustrated. Being
familiar with aU the fingering patterns for any seale type will
insure the ability to use that scale all over the fingerboard.
AH the seale patterns are moveable. This means that
they may be moved from fret to fret, with each position giving
the seale a new letter name. All eircled notes indicate the
scale's root - the note that determines the letter name of the
scale. The principIe is the same as with rnoveable ehords.
1
If
pattern * 1 COl' the minor pentatonie scale is played at the fifth
fret, it is in the key of A, since the sixth string, fifth fret is ao
"A" note. (The root notes on the fourth and first strings are
also "A" notes.) Play the same pattern at the seventh fret and
it is in the key of B, as the sixth string, seventh fret is a "B"
note. (lf you do not know the names of the notes on all six
strings, a diagram indicating this information is included in
Lesson 1.)
Once you mernorize the scale patterns and see how easy it
is to change keys by moving them to different positions on the
fingerboard, you probably won't Ceel tempted to construct
scales using the formulas. The scale patterns that you are
about to lesrn are closer related to the actual playi ng oC the
instrumento The method of construeting scales using formulas
was demonstrated primarily to show you the theoritical side of
things. As each different se ale type is presented, its formula
for construction will also be indicated.
13
AH scale patterns will be illustrated in the toUowing
manner:
Roo<
The horizontal Unes represent the guitar's six strings. The
line closest to the TOP of the page represents the FIRST string
(the thinnest and highest pitched string on the guitar). The
vertical tines represent the trets. Black dots indicate the
placement ot tingers, and numbers indicate specific fingerings.
Mlnor Pentatonic Scale
Formula tor Construction: 1, b3, 4, 5, b7
Pallem " 1 Pltlem .2 Patlem 1I; J Patlem "'4

Pallem .5
Minor PentltOllie Seale Coverin,
Entire Fingerboard. Key or A:.
14
Although the minor pentatonic scale is otten referred to
as a blues sc&le, the blues scale i5 yet another, but very similar
scale. The minor pentatonic scale is so named because it is a
smaller, live-note verston of the seven-note relative minor
scale. ("Penta" is derived trom "pente", which means tive in
Greek.) Don't be confused beca use you see more than live notes
in each pattern, the notes are simply repeating themselves.
Most of the repetitive, bluesy sounding licks described
earlier are derived from the minor pentatonic scale. This scale
seemed to be the mainstay ot that "other" generation ol rock
guitarists like Jimmy Page, Jiml Hendrlx, and Eric Clapton.
Today's high-tech uiter players such as the late Randy Rhoads,
Edward Van Halen, and Gary Moore use thls scale also, but they
tend to combine it with other scale types. The earlier rock
guitarists used the minor pentatonic scale almost exclusively.
It you study each pattern caretul1y, you'U see that where
one pattern ends, the next one begins. The latter half of
pattern t I is the tlrst halt ot pattern '2. All the patterns are
intertwined in the same manner, tltting together like a puzzle
that covers the entire fingerboard. The minor pentatonic scale
(as weU as all other scale types included in this lesson) has been
shown covering the entlre fingerboard in the key ot A, including
the open strings, so you can see how aU the patterns tit
together. You also may discover solo ideas that you might not
have seen looking at each pattern individually.
Use the minor pentatonic scale oyer the minor triad or
power chord ol the same letter name. Use the A minor
pentatonic scale oyer an A minor triad or an A power chord.
The A minor pentatonic scale can also be used over chords in
the key ot A minor, when these chords are used In a progression
centering around an A minor triad or an A power chord. The
mlnor pentatonic scale will also work oyer chords in the major
key two trets lower. Use the A mlnor pentatonic scale over
choros in the key of G major, agal n, provided these chords are
used in a progression centering around en A mlnor triad or an A
power chord.
15
Blues Scale
Pormula lor Construction: 1, b3, 4, b5, S, b7
Plucm :jj:' Plucm 11102 Plttcm _4
M
81ues Stale Covering
PI Uem _5 Entire Fingerboard. Key of A:.
The blues scaIe contains the same notes as the minor
pentatonic scale, wlth the addition of one note - the tlatted
fifth. Sometimes termed the "blues note", the tlatted rifth has
traditionally been used as a "passing tone". In other words, it is
used to pass trom one note to another, lasting only
momentarUy. The tlatted fifth is used in this manner because
it clashes with the natural fifth ol the key, a note contained in
most chords that the blues scale corresponds with tor
improvisation. When used as a passing tone, the flatted fifth
goes by so quickly that one barely gets a chance to hear this
clash.
In recent years, it seems to have beco me almost a trend
among heavy metal guitar players to achieve a haunting, eerie
quality in their guitar solos. The flatted fifth is notorious t or
creating this effect. As a result, today's heavy metal guitarist
will resolve to the flatted fifth as weU as use it as a passing
tone. (To resolve to a note means to end a phrase or lick on
that note, usually resulting in its emphasis.)
16
'1
l
You can avold shakey terrltory by emphaslzlng the flatted
fitth in a situation where It won't clash wlth backround chords
or bass lines. The flatted flfth does not necessarily have to be
used in a solo. Thls note can be Incorporated Into the verse,
chorus, or any part ot a song where it will create a desirable
ettect, as the late Randy Rhoads used it dur ing the ntro to his
classic solo from "Over the Mountain".
The blues scale works over the same choros as the minor
pentatonic se ale. Just be sure to use the flatted tlfth with
discretion. Remember, your ear is the true judge. If it sounds
good, it works!
Major Pentatonic Scale
Formula for Constructlon: 1, 2, 3, 5, 6
Pattem jJj: 1 Pluem jJj: 2
Plttem 4 5
Pattem _ .3
MajO!" Pentltonic Seu Covcnn
Entire Finerboard. Key o( A:
Pauem :11=4
The major pentatonic scale relates to the major scale in
the same way that the minor pentatonle seale relates to the
relative minor scale. The major pentatonic scale is a smaller,
five-note version of the major seaIe. This scale is usua1ly used
17
over a major triad or power chord tor a country or country rock
type sound. Use the A major pentatonic scale over an A major
triad, A power chord, or a progression in the key of A major
that centers around an A major triad or an A power chord.
Before we see how the major scale looks on the
fingerboard, lets take a look at how the major scale can be
manipulated to produce seven different sounding scales called
"modes". Below is the C major scale. All the scale degrees
have been numbered.
CDEFGABC
23 456 7 8
The following names are used to correspond with each
degree ol the major scsle:
C D E A B C
""'""
AooI ....
The e major scale usually appears starting and ending on
the note "C", as illustrated aboye. It the C major scale started
and ended on the note "D", it would be referred to as D dorian.
D dorian mode: DEFGABCD
The O dorian mode is not a D major scale. (The key ol O
major contalns two sharps.) It is actually a e major scale, only
starting and ending on the scale's second degree.
If the e major scale started and ended on the note !lE", it
would be referred to as E phrygian.
E phrygian mode: EFGABCDE
The E phrygian mode is not an E major scale. (The key 01
E major contains tour sharps.) It is a C major scale, only
18
starting and ending on the scale's third degree. Each mode
starts and ends on the scale degree with its
modal na me. There are seven modes altogether, one for each
degree of the major scale. The C major scale appearing in its
most common form, starting and ending on the note "C", can
also be called the e lonian mode.
Now let's see how modea are used for improvisation. A
maj or scale may be used to improvise over any of the choros
contained within ita key. If a major scale is played over its I
choro, that major scale ia referred to as ionian. It a major
scale is played over its 1I chord, that major scale ia referred to
as dorlan. When a major scale is played over its III chord, that
major scale is referred to as phrygian, and ao forth. The same
major scale will produce a dlfferent sound over each chord.
Therefore, seven different sounding scales, or major scale
modes, are available for improvisation.
Modes are also helpful in describing the different
applications of major scales. For example, a G major scale, F
major scsle, or a C major scale may be used to improvise over
an A mlnor triad (or A power chord). Each one 01 these scsles
will sound different over the A minor chord. If the G major
scale ls used, it may be referred to as A dorian, because A
mlnor is the n choro from the key of G. If the F major scsle is
used, it may be referred to as A phrygian, because A minor Is
the III choro from the key of F. If the e major scale is used, it
may be referred to as A aeolian, as A minor is the VI choro
trom the key of C. Once you beco me familiar with the qua1ity
of each mode, you'll choose the one closest to the sound you
desire. The aeolian, dorian, and haunting phrygian are the
modes used most commonly by the heavy metal guitarist.
Ir you carefully examine the fingering patterns for each
mode, you will see that a pentatonic scsle fits inside each
pattern. The major pentatonic scale tits inside the lonian mode
(major scale), and the minor pentatonic scale fits inside the
aeolian mode (relative minor scale). AIso note that the same
five fingering patterns are used for each mode; only the roots
have been changed. Once you memorize all five flngering
patterns, you'll know all aeven modes.
19
lonian Mode (major scale)
Formula tor Construction: 1, 2, 3, 4, 5, 6, 7
Pattem _1 Pattem :jj: 3 Paucm
onian Mode Covering
Pattem -. S Entire Finerboard. A lonian:
Use the ionlan mode oyer the major 7 chord, major triad,
power choro, or choros in the key ol the same letter name. Use
A tonian over an A major 7 choro, A major triad, A power
chord, or chords In the key ot A major.
Dorian Mode
Formula tor Construction: 1, 2, 4, 5, 6,
Pattem "1 Pattem _ 2 Pattem fi:l
Pauem ".


11 R
'i -..
-

"
-
--
20
Oorian Mode <:OVerin
I
Use the dorian mode oyer the minor 7 chord, mlnor triad,
or power chord ot the same letter name. The dorian mode will
also work over chords in the major key two lrets lower. Use A
dorian over an A minor 7 chord, A minor triad, A power chord,
or chords in the key ot G major.
Phrygian Mode
For mula tor Constructlon: 1, 4, 5,
Pauem " 1 Pattcm _ 2 Pattem 1i:J Pattem _4
Ptlryian Mode Coyerinl
Pattem - s Entire Finetboard. A Phryian:

Use the phrygian mode oyer the mlnor 7 chord, minor
triad, or power chord ol the same letter name. The phrygian
21
mode will also work oyer choros in the majar key tour trets
lower. Use A phrygian over an A minar 7 choro, A minar triad,
A power choro, or choros in the key oC F major.
Lydlan Mode
Formula tor Construction: 1, 2, 3, #4, 5, 6, 7
Plttcm #1 Panem # 3 httcm #4
Lydian Mode Covering
Pattem _ 5 Entire Fingerboard A Lydian:
11
Use the Iydian mode over the major 7 choro, majar triad,
or power chord ot the same letter name. The lydian mode will
also work over chords in the major key five frets lower. Use A
lydian oyer an A majar 7 chord, A major triad, A power chord,
or chords in the key ot E major.
22
Mixolydian Mode
Formula Cor Construction: 1, 2, 3, 4, 5, 6,
Pattem # 1 Plttem _3 httem #4
Mixolydian Mooe CQYcring
Paucm -= 5 Entirc fingcrboard. A Mixolydian:
11
Use the mixolydian mode oyer the dominant 7 choro,
major triad, or power choro ot the same letter name. The
mixolydian mode will also work over choros in the majar key
five frets higher. Use A mlxolydian over an A7 choro, A major
triad, A power choro, or chords in the key ol O major.
Aeolian Mode
(relative minor scaJe, natural minar scale, pure minor scale)
Formula tor Construction: 1, 2, b3, 4, 5, b7
Paucm _1 Paucm .2
a
:
--
-
23
Panem .3
g
- ---
- 11

-
AeoIian Mode Coverin
Endre Fingerboani. A AcoHan:
Use the aeollan mode oyer the minor 7 chord, minor triad,
or power choro 01 the same letter name. The aeolian mode will
also work oyer chords in the major key three frets higher. Use
A aeolian oyer an A minor 7 chord, A minor triad, A power
choro, or chords In the key ol C major.
Locrian Mode
Formula for Constructon: 1, b2, b3, 4, b5, b6, b7
Pattem _\ Pattem .3
l.Axrian Mode Covering
Plttem .S Entire Fincfboard.. A Locrian:
Use the locrian mode oyer the minor 7b5 chord or
diminished triad of the same letter name. The locrlan mode
24
wUl also work oyer choros in the major key one fret higher.
Use A locrian oyer an A minor 7b5 chord, A diminlshed triad, or
choros in the key of ~ major.
Now that you've learned the (ve basie major scale
llngering patterns, there are another seven major scale patterns
that you should know. 1 reler to these patteros as extended
major scales. These are the "wide-stretch" scales used by most
ol today's top metal players. Toget her with the live patterns
that you already know, this makes a total ol twelve different
tingering patterns lor any major scale mode. (If you experience
any difficulty executing the stretches necessary to perform
extended major scales, Lesson 3 includes an exercise designed
to deal with this problem specilically.)
Extended Jonian Mode
Pattem .-\ Plttcm _2 Pattcm '-4

Pattem lfo6 Pattem .- 7
11
25
Extended Dorian Mode
Extended LYdlan Mode
Panem.! Patum#2 Patum#3
---
.mM
Panem 111:4
Panem #1 Panem -=2 Patum #3

PatumoJ5 Pattem -=6 Panem -= 7
Panem _7
--
-
--
Ext ended Phryglan Mode
Extended Mixolydlan Mode
Pattem # 1 Pattem .2 Patum :13 Panem #4
Panem # 1 Pattem #2 Panem .3 Patlem _4

-- 11 .--
- .. -; -
- - ;
- --
- -

Paltem _5
Patum -=5 Patum _6 PatUm :;1>7
11

26
27
Extended Aeolian Mode
PatlC!m" l Pattem 1Il 2 Pattem 1Il3 Pattem _4

Extended Loer ian Mode
Pattemttc l Pl ttem # 2 p. ttem # 3 Pattem _4

PaUem ,., j p. uem . ,
28
Harmonic Minor Scale
Formula for Construetion: 1, 2, b3, 4, 5, b6, 7
p.ttem # 1 Pattem .3 Pattem .lf:4

Pattem # j
H.nnonic Minor $clle CoYerin
Entire Fingerboard. Key ol A:
The harmonie minor 13 another sinister sounding scale
used fayorably by guitarists IIke Ritehie 81ackmore, Yngwie
Malmsteen, and the late Randy Rhoads. Use the harmonic
minor scale oyer the minor triad or power choro of the same
letter name. Use A harmonlc minor oyer an A minor triad or an
A power choro. The A harmonic minor scale can also be used
over O minor, E major, or F major, when these choros are used
in a progression centering around an A minor triad or an A
power ehoro.
29
Melodic Minor Seale (Ascending)
Formula rOl' eonstruction: 1, 2, .3, 4, 5, 6, 1
Pl llem .1 tJ2 Pattcm .] Pallcm tJ4
a
Pallem .5
Mclodic Minor Seale CoYcrin
Entirc Fingerboard. Key of A:
The melodic minor scale isn't used by too many of today's
high ener-y guitarists, but some players, like Yngwie
Malmsteen, incorporate this scale into their guitar solos.
The melodic minor scale actually contalns dlfferent notes
when lt Is played ascendlng (trom lower octave to higher
octave) than when It is played descending (trom higher octave
to lower octave). The descendlng melodic mlnor scale contains
the same notes as the relative mlnor scale (aeoltan modelo
When the melodic minor scale Is referred to trom an
improvlsing standpoint, the ascending variation (sometimes
termed the "jazz minor" scale) is usually used.
Use t he ascending melodic minol' scale over the minol'
triad Ol' power chord ot the !ame letter naroe. Use A melodic
minor over an A mlnor triad or an A power chord. The A
melodlc mlnor scale can also be used over O major and E major.
when these choros are used in a pl'ogression centel'ing around an
A minor tl'iad or an A power choro.
30
Dlminished Seale
Formula tor eonstructlon: 1, 2, 4, 6, 7
Pattem tJl Pattcm .2 Panem tJ ] .4
OimiDishcd Selle <:OVerin,
Entire fin,erboard Key ol A:
The bizarre sounding diminished is yet another scale
whlch possesses a haunting quality. Use the dlminished scale
over a domlnant chord, a major triad when It is the V chord, or
power chord that runctlons as a V choro. The dlmlnished
seaIe must be one fret higher than the key ot the chord. Use
the A diminished scale over an chord, an major triad, or
an power chord.
Of course the dimlnshed scale works over a diminished
chord. You be improvising over too many dlminished
chords in heavy metal, but in case the situation arises, use the
dlmlnished scale over the dlmlnlshed chord of the same letter
name. Use the A dimlnlshed scale over an A dimlnlshed chord.
The dlminished scale has tour roots. A diminlshed scale in
the key ot A is alBO In the key of e, and
31
A number of the seale patterns presented in thls lesson
may be played at two posltiorl3 on the fingerboard lor the same
key. II eaeh note lrom a !Cale pattern Is played one octave
lower or hlgher, the entire scale pattern itsell may be played
one octave lower or hlgher. Twelve lrets span the dlstance 01
one octave lor any note on a single string. Therelore, any scale
pattern may be repeated twelve frets above or below Its
position, provlded the guitar doesn't ron out ol frets.
Look back at tlngerlng pattern .1 tor the mlnor
pentatonic scale. In the key 01 A, this scale pattern can be
played at the fitth tret and one octave hlgher (twelve trets
higher) at the seventeenth tret. Now look at tlngerlng pattern
.2 tor the mlnor pentatonlc seale. In the key of A, thls seale
pattern can be played starting at the elghth tret and one octave
higher starting at the twentleth tret. Pattel'n'3 tor the minor
pentatonic seale eannot be repeated at lower and hlgher
octaves In the key ol A. Due to Its loeation on the tlngel'board,
the neek does not Inelude twelve trets aboye or below its
position. However, thls is not the case tor a number ol other
keys. For example, in the key ol E, pattern .3 may be played
starting at the filth tret and one octave higher starting at the
seventeenth tret.
Always keep in mlnd the possibility 01 repeating seale
patterrl3 at lower and higher octaves, 50 you can use the seales
that you1ve learned to eover every last neh 01 the guftar
fingerboard!
32