Feel free to delete this thread if too elementary/covered in a vid. I am pretty sure Mr.Brown said something along the lines of this in one of his vids.

I was reading the "music theory for guitarists" from Hal Leonard. In it there is a page devoted to roughly 30 different flavors of chords and all it says is(1 example):
dom7: 1-3-5-b7

So it describes what you need to do with the major scale in order to come up with these chords. I really like this in the fact I don't get to see the shape, it is up to me to find all the notes. Works well with a jazz standard book!

My question is, do any of you have a list like this for all the scales ? I can't find one online, however this will be something I obtain(I will make one if we can't find one and share).
So for example the sheet would look like this:
dom7: W-W-H-W-W-H-W

EDIT: I found something similar to my description
"ww.jazzbooks.com/mm5/download/FREE-scale-syllabus.pdf" ( I can't submit links today both in IE and chrome, you will have to be creative to figure out how to recreate the link)

Although I know there is a shitload of more scales out there

EDIT above:

I actually do prefer the scaletone syntax:
So the scale sheet would look like the chord example I listed above

1-2-3-4-5-6-b7

I think the big benefit of this is it can make speaking much simpler if everyone assumes relative to major scale.
I am sure people already do this, but I am out in the boondocks with pre-school music knowledge at best.

"How does the dominant scale go again?"

"You just flat the seventh"

Hi Student,

Here's my 2 cents:

Basically, the major scale contains most of what you need. If you want shapes, you should start off with Pebber's scale forms. Each of those scale/fingers will have a chord that will go with it. In fact, when you take the time to map out each major scale and all the basic 7th chords (with their inversions) you will see which of the 14 finger pattens go with what chord.

There's only one way to do it. Just figure it out on your own. When you put in the time you will see results a big way. Something no book can give you. For example, take a blank neck and write out all the letter note names in the key of C:

0 1 2 3 4 5 6 7 8 9 10 11 12 13 etc...
E || F | | G | | A | | B | C | | D | | E | F |
B || C | | D | | E | F | | G | | A | | B | C |
G || | A | | B | C | | D | | | E | F | | |
D || E | F | | G | | A | | B | C | D | | E | F |
A || | B | C | | D | | E | F | |G | | A | |
E || F | | G | | A | | B | C | | D | | E | F |

Note: unfortunately, this example doesn't do it justice. Just use Pebber's blank necks.

Do this for each key. Then go and start looking for chord shapes like the 7th chord. This act of writing it out will take a long time but it will cause a connection to be made between your brain and guitar like no other. In fact, when I think about it I took the time to write out the following:

1. Major Scale (like the one above only I did it up to the 22nd Fret)
2. 7 fingerings (Pebber has 14 positions)
3. all the 7th chords and their inversions (drop 2, and drop 3)
4. triads (open and closed)
5. intervals (up and down the neck not across)
6. 7th chord arpeggios, triad arpeggios
7. pentatonic on the 2nd, 3rd, and 6th degrees

It was roughly 30 pages for each key. So, that would make it about 30 X 15 which is about 450 pages.

Try it out. This is Johnny's challenge: write out your own book. You will find out that the pay off will be huge. But don't believe me. Investigate the possibility. Say... do the Key of C and see if you notice the difference in your fretboard/theory awareness. Its hard work, but doable.

If you decide to take on this challenge, let us know of your results. I wouldn't be surprised if you became addicted and did all 15 keys.... then you went on and did the harmonic minor, melodic minor, diminished, etc....

Have fun

:D

What an insight John, I thank you for your effort and I do like this idea.
This will blend in nicely with my practice routine(this will be a good break when my fingers get tired).

Going back to your original post W W H W W H W is the mixolydian mode and that mode is generally used over 7, 9, 11, 13 chords as well as sus chords and major chords and their variations such as Maj7#11. So I'm confused as to what your question is.

Hey Ursin,

Yeah after re-reading my original post it is confusing, I go on different tangents for sure

Here is what I meant:
All scales can be referenced based on the major scale. So for the dom7 you would just say "flat the 7th".
I was then looking for a sheet that has all the scales written out in the form "dom7 = b7" (because we are referencing the major scale here, the only thing I need to know is the b7)
It had me thinking it would save time for writing out music/ having a conversation.

With that said, Thank you Ursin for letting me know what the mixolydian mode is used with !!
( always been a fan of asking questions and getting more than asked for )

If it is possible, I would prefer if my first 3 posts can be deleted(they are confusing) and the thread get renamed to something like "Major Scale Workout" with John's post being the first

It could be looked at as variations on the major scale. You could even go back a step and say the major scale is a variation on major pentatonic. Better to over simplify than to over complicate!

What you are describing is basic fundamental chord/scale theory. I would actually advise against getting a sheet of paper that has all these formulas written out.

Learn the major scale positions. start with 5 position system. Get that down REALLY well. And when I mean really well you need to be playing them in thirds, sixths, etc up and down the neck.

Once you start doing this, play them against backing tracks to really program that MAJOR sound into your mind's ear.

Then, move forward with the modes, their construction, formulas, etc etc

Yes... uderoche has a good routine. Backing tracks is a great way to get it in your ears. I know I do it all the time....

I finally have the 5 position system SHAPES burned into my head, now I want to branch out still w/in the 5 position system and learn the various ideas used for improve. When I improve it is boring, I just go through the shapes forwards and backwards, while changing timing, tone, add some sucky vibrato here and there haha(that needs a lot of work). So I am really looking into the various combinations for "note-skipping".

Quoting Ursin:

"Get that down REALLY well. And when I mean really well you need to be playing them in thirds, sixths, etc up and down the neck."

So does playing in thirds mean I would go(pretend G major):
G B D F# A ?
OR
G B, A C, B D, C E, D F#, E G, F# A, G B ?

Also do you recommend other patterns besides the 3rds and 6ths ?(is there a pattern in the major scale that is used a lot in Jazz ? )

The second one mr student

But also playing the scale in triads is good to

This Pebber video should help you

Thank you Ursin!!

This vid outta shut me up for awhile!

Wow! Right video lesson at the right time for me - I don't think I've learned so much so quickly since I first stumbled on Pebber's picking lessons. So many great ideas here. To paraphrase Annie Hall: "Twins, Max - think of the mathematical possibilities."

Thanks for posting Ursin. And thanks so much for sharing Pebber.

PB Scale Sequences Part II





PB Scale Sequence Concepts

It looks Pebber sometimes lifts his finger when doing subsequent notes and at other times flattens(example 4-6 for thirds or a 1-4 for fourths). I think it really depends on where you are headed next. Anyway here is a vid I posted to try and be more specific.

You can either totally lift your finger up and move it to the next note, roll the finger or double up fingers on a fret. That's about the only 3 choices I can think of. Most players roll the finger.

Right on Ursin, thanks

Hi its a go at a five note major scale sequence.

Nice going in that sequence! On an acoustic too and it sounds for a better word cool. I see a good coordination going on and for an exercise it is a musical one. Good job!