05-29-2007, 08:18 AM
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#1 |
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Registered User
Join Date: May 2005
Location: SF, CA
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Three Note Per String Primer
All in once place. I'm going to follow up this post with the following:
1) The 7 three note per string fingers for G Diatonic Major 2) The 7 three note per string fingers for G Melodic Minor 3) The 7 three note per string fingers for G Harmonic Minor 4) How to easily find, build and play 7th arpeggios in three note per string fingerings. And a bonus pak: 5) Pentatonic 3 note per string basics The last is really a separate issue, but fits into the 3 theme. I like to use the key of G for my practice stuff. I assume you can easily transpose if you like other keys. Here's #1 Code:
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05-29-2007, 08:19 AM
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#2 |
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Registered User
Join Date: May 2005
Location: SF, CA
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Code:
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05-29-2007, 08:20 AM
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#3 |
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Registered User
Join Date: May 2005
Location: SF, CA
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Code:
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05-29-2007, 08:21 AM
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#4 |
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Registered User
Join Date: May 2005
Location: SF, CA
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You can take any 3 note per string fingering
and generalize it into a "schematic": Code:
Just to visualize, here's an example of what I'd call the 1st position fingering. Starting on 3rd fret, low E, this is the G Major scale, actual fingering. Code:
Back to the schematic, we could number the scale degrees like so: Code:
This is the basis for how I chose to number the 7 arpeggio 7th patterns. The 7 patterns are numbered for where the root of each sequentially falls in the first fingering position. So, in schematic form, here are the 7 patterns. The ONLY 7 patterns you'd need to memorize for any 7th arpeggio anywhere: Code:
In the first fingering position 1 = Gmaj7 2 = Amin7 3 = Bmin7 4 = Cmaj7 5 = D7 6 = Emin7 7 = F#minb5 What happens when you move up a fingering position? Same schematic patterns, but they give you different arpeggios: 1 = Amin7 2 = Bmin7 3 = Cmaj7 4 = D7 5 = Emin7 6 = F#minb5 7 = Gmaj7 Just pop the top one off, move it to the bottom and renumber from 1 - 7. And so on up through the other 5 finger positions. What happens, if you want to, for instance, play Gmaj7 up the entire neck? Simple, the patterns would go (starting from the 1st position): 1 ->7 ->6 ->5 ->4 ->3 ->2 ->1 Same thing works for Melodic & Harmonic minors. Here's G Melodic minor, 1st position: Code:
And here's the pattern arpeggios 1 = Gminmaj7 2 = Amin7 3 = Baug 4 = C7 5 = D7 6 = Emin7b5 7 = F#minb5 [CODE] |
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05-29-2007, 08:22 AM
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#5 |
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Registered User
Join Date: May 2005
Location: SF, CA
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I was inspired to write this based on a fairly recent argument
I had in this forum. It's about economy picking pentatonic scales. I said that the typical pentatonic "boxes" aren't condusive to economy picking because of thier 2 note per string nature. The other side argued it was just as easy to economy pick those as alt pick those and suggested I didn't understand economy picking. Idiots(just kidding)! But, of course I'm right and they're wrong.  However, there IS a way to totally economy pick pent scales. You just can't use the usual "boxes". You have to think outside the "box" (har-har). I've included examples AND sound clips of each example on my dmusic site. (my examples may not be all that great as I'm still actively working on this stuff). As far as I know, this idea originated with Frank Gambale. At least it's the first I heard of it. A big advantage of the "three note per string" major scale fingering is that it's very easy to follow the golden rule of economy picking: "odd number of notes picked to move in the same direction, even to reverse direction" What Gambale essentially did was "paste" 2 adjacent pentatonic boxes in a super-position and that makes a 3 note per string fingering. The disadvantage is you have to be comfortable with some BIG stretches, but that is pretty easy to overcome with the right practice. The advantage is with this regular picking you can smoothly fly through a pentatonic scale. Here is the totally typical Linear Gambale pentatonic run. You'll notice EVERY SINGLE string crossing is economy picked -- that's what I'm talking about! It's in G Minor Pentatonic (as are all the tabs): http://edg.dmusic.com/music/ Example 1 Code:
You'll note he's actually doing 3 string sweeps, but the principle is the same. It follows the "odd economy picking rule" about moving in the same direction. In this case the odd number is 1. It may not be obvious the underlying scheme is pasting 2 pent boxes together. This example might make it clearer. It's another typical Gambale pattern and is the oft-used "4 note braid": http://edg.dmusic.com/music/ Example 2 Code:
OK, so why is the basic linear pattern not simply like a three note per string major scale? Well, here's why. The next example shows what it would be like (and makes the 2 pasted positions even clearer). Try it out. http://edg.dmusic.com/music/ Example 3 Code:
Did you notice that the last note of one string is the same as the first of the next? You get a kind of percussive doubling. Played at speed, it's totally cool! However, it's not always desired. This is where I came up with an idea. Maybe it's been done before, but I never heard about it. If you do BOTH 3 notes per string AND moving diagnonally through the finger positions, you totally can linearly economy pick the pentatonic scale that way too. Here's an example of what I'm talking about. This is basically one out of five diagonals: http://edg.dmusic.com/music/ Example 4 Code:
That covers a LOT of ground quickly! Starting on fret 3, you wind up at fret 20! But it can be done and done fast and smoothly. However, you can still use the diagonal approach and build smaller repeating pieces of it. Here's an example: http://edg.dmusic.com/music/ Example 5 Code:
I'll leave it at that then. Between the Gambale approach and the diagonal approach you should be able to come up with lots of interesting new pentatonic patterns and ideas. I've only scratched the surface here. Plus, the examples mostly only show one out of five positions or diagonals. To be the most useful, these should be worked out in every position so you can cover the entire fretboard. |
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05-29-2007, 09:07 AM
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#6 |
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Registered User
Join Date: Aug 2005
Location: UK
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I like the patterns again, but have you considered trying more mode-specific chords in your arpeggio lines?
What I mean is - for the major scale, instead of going maj7 - m7 - m7 - maj7 - 7 - m7 - m7b5, you might go maj7 - m7 - susb9 - maj7#11 - 7 - m7b13 - m7b5, where each arpeggio more closely outlines the tonality of the scale, and IMO it leaves a wider space for any lines you want to throw over a arpeggiated sequence because you don't have to work as hard to establish some kind of home for the ear (especially if you use quartal voicings) because the notes you're using in the arpeggios are doing that for you. You can do the same thing with melodic minor aswell, instead of m/maj7 - m7 - aug - 7 - 7 - m7b5 - minb5 (which btw is the incorrect label for the 7th chord of mel minor, the mode contains a major third turning it into a dominant chord) you would go along the lines of m/maj7 - susb9 - maj7#5 - 7#11 - alt - m7b5 (only 6 chords there, the reason being the alt chord usually comes from a different scale and is used instead of the actual V chord in your specific key to add more inherent tension, Galt from Ab melodic minor in the key of C instead of G7 from C melodic minor). So you'd have a line like Dsusb9 - G7alt - Cm/maj7 instead of Dmin - G7 - Cm/maj7, which I think opens up more melodic doors. You can then proceed to add/substitute chords (using the 7#11 chord a tritone away from the V for example), something along the lines of Dsusb9 - Db7#11 - Cm/maj7. That's just something for you to think about if/when you decide you want to expand on your arpeggio ideas, and I find is a lot more interesting than straight up tertian chords. Still loving those Gamable 3nps penta licks though, even if I have been slacking on them. Getting there though   |
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05-29-2007, 11:38 AM
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#7 |
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Registered User
Join Date: May 2005
Location: SF, CA
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Yeah, good catch, the 7th chord of the melodic minor is dominant.
This is really just the briefest of intros to anyone who's interested in 3 note per string scales. The arpeggiated stuff is the basic way anyone should understand how a scale harmonizes. I didn't want it to turn it into anything more complex than that. The reason I happen to be doing this is that I think it's a very useful way of patternizing the fretboard. I'm basically a pattern player I guess. I know many many patterns through these fingerings as they're pretty easy to do up and down the entire fretboard once you've done a few. You can get a wide variety of color tones or chord tones out of the same simple pattern all depending what chord you use it over. To do that effectively its also good to be aware of how the tonal center is moving in relation to what you're playing and where you happen to be on the fretboard. That's where I find these arpeggios useful -- not necessarily that I'd play them like that. More to help target specific chord tonalities when using other patterns. |
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05-29-2007, 12:00 PM
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#8 | |||
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UG Board King
Join Date: Oct 2005
Location: Newcastle Upon Tyne, England
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I think this is some good stuff, you should submit it as a lesson!
__________________
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05-29-2007, 03:42 PM
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#9 |
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Registered User
Join Date: May 2005
Location: SF, CA
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Yeah, well I've tried submitting lessons in the past and they seem to just go into
a black hole. So, no more lesson submissions for me.... |
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05-29-2007, 06:42 PM
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#10 | |
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My name is Karim
Join Date: Feb 2007
Location: Montreal, Canada
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Very good information... but hmm can you tell me what is the G Diatonic Major scale exactly?? I'm not sure I understand....
Is it an other name for the Major Scale?? or its like G Mixolydian (to get only natural notes)??
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Note: Sorry if my grammar and/or vocabulary isn't very good, English is my 2nd language! Quote:
If you're wondering where I've been gone, click here! |
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05-29-2007, 07:54 PM
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#11 |
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Registered User
Join Date: May 2005
Location: SF, CA
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Actually, I should just say the Diatonic scale in the key of G which = G Major.
I don't really like saying G Major because you're naming an entire note system by its first mode, and right there you get a ton of people confused between scales and modes. But G Major IS the common way of saying it. So the Diatonic scale system includes major (ionian) and all the other modes, but it doesn't imply any specific one, which is a good way to look at when you're just looking at fretboard patterns. |
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05-29-2007, 08:10 PM
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#12 | |
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UG's guitar player
Join Date: Feb 2007
Location: heavens door
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Quote:
+ 1 |
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05-29-2007, 08:12 PM
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#13 | |
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My name is Karim
Join Date: Feb 2007
Location: Montreal, Canada
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^ Okk.. thanks for clarifying!
__________________
Note: Sorry if my grammar and/or vocabulary isn't very good, English is my 2nd language! Quote:
If you're wondering where I've been gone, click here! |
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05-30-2007, 01:55 AM
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#14 | |
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Beginner
Join Date: Jul 2006
Location: Australia
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This needs to be archived!
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My name is Andy Quote:
Swinging to the rhythm of the New World Order, Counting bodies like sheep to the rhythm of the war drums |
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10-24-2008, 12:45 AM
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#15 | |
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v It's Back! :D
Join Date: Feb 2004
Location: Dublin
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^ that can be arranged. *archives*
Quote:
PM me them, I'll edit them into the AT FAQ. Also, try submitting them as columns. |
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