Unorthodox Tonalities II

author: CPDmusic date: 09/06/2010 category: guitar scales and modes
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Intro: Hello, and welcome to day three of CPDmusic's Lesson Writing Marathon! Today's lesson will be the long awaited sequel to the Unorthodox Tonalities lesson. I will be doing things a little bit differently though, after reading some of the comments. No major changes, just two things: irst, I will be listing the scales in the same fashion I did in yesterday's lesson, Major Scale Modes, with the numerical sequence in relation to the major scale. Second, I will also be adding on with a list of chords that sound good with that scale, because for exotic scales, usually your standard E major doesn't cut it. The Enigmatic Scale: Alright, lets start today's lesson off with the Enigmatic scale. Some of you may already know how to play this scale, but it's still a fun scale to look at. Also, an interesting fact, it was the scale the Joe Satriani used in his song The Enigmatic, and for anyone who has heard that song, you would know that the guitar in it sound quite unusual. So, lets look at this scale, using our numerical sequence in relation to the major scale: 1 b2 3 #4 #5 #6 7 8 So, using this sequence, we will construct a C Enigmatic Scale. Lets take our C major scale: C D E F G A B C Next, lets flatten the second note: C Db E F G A B C and sharpen the fourth, fifth, and sixth notes: C Db E F# G# A# B C So, there you have it, our C enigmatic scale. Looking at it, you can probably understand why it sound so unusual; the majority of the jumps are whole tones, and there is even a three semitone jump from Db to E. The C enigmatic scale is played on the guitar like this:
Next, lets look at some chords to go along with this scale. How this will work is I will list some chords that sound good with this scale IN RELATION TO THE KEY OF C. Also, I will give the scale degree of that chord so you can play it in any key (if you don't understand scale degrees, there will be a lesson involving them sometime in week 3), and, an example progression or two. So, here are some chords to go with the C enigmatic scale: Scale Degrees: I aug II sus4add13(no5) III IV (b5) V add11(no5) VI sus2(b5) VII sus2 VIII aug Chords in the Key of C: C aug Db sus2add13(no5) E F# (b5) G# add11(no5) A# sus2(b5) B sus2 I know, pretty crazy chords. But when you play unorthodox scales, you have to be prepared to play unorthodox chords too. Anyways, I promised some example progressions, so here you go:
It may sound horrendous alone, but oddly enough, it harmonizes wonderfully with the C enigmatic scale. In case you are wondering, the progression is C aug, Db susadd13(no5), G# add11(no5), C aug. Anyways, that's all for the Enigmatic scale! The Bangshikicho Scale: The Bangshikicho scale is a Japanese scale I learned from a guitar player and close friend of mine. It follows this pattern: 1 2 b3 b4 5 6 b7 8 So, if we were going to play a C Bangshikicho scale, we would start with the C major scale: C D E F G A B C From there, we would flatten the third, fourth, and seventh notes: C D Eb Fb G A Bb C And to make it simpler by removing the Fb, we could play it like this: C D D# E G A Bb C Now, this scale is pretty balanced tone-wise, and also has a three semitone jump like the enigmatic scale. The C Bangshikicho scale would be played on the guitar like this:
Now, once again, I will give you chords to go along with this scale, as well as an example progression. Scale Degrees: i II sus2 III IV sus4(#5) v VI dim VII (b5) viii Chords in the Key of C: Cm Dsus2 D# Esus4(#5) G A dim Bb (b5) Cm The chords to go along with this scale are a bit more simplistic than the ones for the enigmatic scale, which is good. Here is a chord progression to go along with this scale, in the key of C:
This is just a basic I-IV-V-I progression adapted to this scale. The chord progression goes Cm, Esus4(#), G, Cm. So, there you have it, a Bangshikicho Scale! The Major Gypsy Scale: The third and final scale we are going to look at today is the Major Gypsy Scale. This scale follows the pattern: 1 b2 3 4 5 b6 7 8 So, examining this, the major gypsy isn't that different from the major scale, it just has two flattened notes. These two flattened notes are what gives the scale a more exotic, almost Egyptian sound to it. So, lets use this pattern to construct a C major gypsy scale, starting with the C major scale: C D E F G A B C And flattening the second and sixth notes: C Db E F G Ab B C And there is a C major gypsy scale! It would be played on the guitar like this:
Now, as I promised, here are some chords to go along with the gypsy scale: Scale Degrees: I II iii iv V (b5) VI aug VII sus2(b5) VIII Chords in the Key of C: C Db Em Fm G(b5) Ab aug Bsus2(b5) And, here is an example chord progression in the key of C:
So, just to clarify, that is just a I-V-iv-I chord progression, being C-G(b5)-Fm-C in the key of C. So, that's it for our final scale, the major gypsy scale. Classifying Scales: There is just one final thing I want to look at before I end this lesson, and that is how to classify these scales. Now, if you have read my lesson on classifying scales from day one, this will be review for you. In case you haven't, I'll thoroughly go through the classification process. What you would do to classify a scale is take it's first, third, and fifth note, and see what chord they make. For example, lets start with an obvious scale, the Major Gypsy scale. Since we already know it is a major scale, let's prove it. The first, third, and fifth notes of the Major Gypsy scale are this: 1 3 5 Recognize that? If you've read the Basic Chord Theory lessons, you should. That is a major chord, making this scale a major scale. Now, we already knew that, so it comes as no surprise. Let's do a scale that we don't know, like the Bangshikicho scale. The first, third, and fifth notes of the Bangshikicho scale are: 1 b3 5 Does it look familiar? That's a minor chord, making the Bangshikicho a minor scale. Now, for those who only think there are major and minor scales, your wrong. Remember in yesterdays lesson, how the locrian mode was a diminished mode. Well, there can be scales that don't fall into the category of major or minor either. For example, lets now look at the first, third, and fifth notes of the Enigmatic scale: 1 3 #5 What chord is that? Well, it's an augmented chord, making the Enigmatic scale an augmented scale! Now, one final think you should notice is that the first chord in the list I gave you, or the I scale degree, actually tells you that. In the major gypsy scale, the I scale degree was a major chord. In the bangshikicho scale, which is a minor scale, the I scale degree was a minor chord. In the Enigmatic scale, which is an augmented scale, the I scale degree was an augmented chord. Just something you should notice to help you classify scales faster. Postponed: Before I end this lesson, I would just like to inform you that the remainder of this lesson marathon has been postponed, and will resume as normal on September 20th. The person who graciously puts these lessons on the home page is going on vacation, and has informed me that during that time, if I continue to publish lessons, they will not have a spot on the home page. Unfortunately, this came a bit late, as two of the lessons, plus this one, were already published. So, for the publicity of this lesson marathon, I have determined to wait until he returns from his vacation. I wish him all the best during this time, and hopefully this will be the last bump in the road for this marathon! Outro: Well, that's all for Unorthodox Tonalities II, as well as day three of CPDmusic's 28 day lesson writing marathon. Hopefully you will have some fun with these three new scales, and the chords to go with them. Remember, if you want to be able to read these lessons THE DAY they are written, join the CPDmusic lesson writing marathon UG group, the link is below. Thank you, and goodbye! Support CPDmusic's lesson writing marathon by joining this group.
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