# A big list of scales and modes I compiled...



## distressed_romeo

Thought some of you would find this interesting...


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## DelfinoPie

Whoa thats awesome dude, that'll give me something to play around with for a while   

Much appreciated!


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## Desecrated

How would this look if you used diminished as base and made modes out of that scale ? 

How do you make modes out of a scale, is there a certain technique/method used or ?


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## distressed_romeo

Desecrated said:


> How would this look if you used diminished as base and made modes out of that scale ?
> 
> How do you make modes out of a scale, is there a certain technique/method used or ?



The diminished scale doesn't have modes, as it's symetrical. For instance, A whole-half diminished (ABCDEbFF#G#) is the same as the C whole-half diminished (CDEbFF#G#AB).
All you have to do to get a mode out of a scale is treat a different degree of the scale as the tonic note, and resolve to it as strongly as possible. Diminished scales (and other symmetrical scales such as Whole-tone and Augmented scales) don't actually have a tonic as such, and so aren't really modal in nature.

Hope that makes sense.


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## ShawnFjellstad

kudos. this should be stickied.


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## Metal Ken

Brutal \m/


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## Metal Ken

ShawnFjellstad said:


> kudos. this should be stickied.



So let it be written, so let it be done.


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## technomancer

I converted this to pdf because I despise Word for simple stuff 

Nice work DR


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## All_¥our_Bass

Also if you want lots of scales and stuff here's something I posted awhile back.

http://www.sevenstring.org/forum/ge...-list-scales-modes-post454853.html#post454853


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## Desecrated

distressed_romeo said:


> The diminished scale doesn't have modes, as it's symetrical. For instance, A whole-half diminished (ABCDEbFF#G#) is the same as the C whole-half diminished (CDEbFF#G#AB).
> All you have to do to get a mode out of a scale is treat a different degree of the scale as the tonic note, and resolve to it as strongly as possible. Diminished scales (and other symmetrical scales such as Whole-tone and Augmented scales) don't actually have a tonic as such, and so aren't really modal in nature.
> 
> Hope that makes sense.



It makes perfect sense.


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## El Caco

Guy's, can you help me as this is way over my head.

I feel stupid not being able to understand what is probably an easy concept.

I'll start with the easiest one Major/Ionian, R,2,3,4,5,6,7.

Using virtual guitar I get C Major as C,D,E,F,G,A,B to me that is whole, whole, half, whole, whole, whole, half. I get this pattern with any note that I start with.

Can some one please tell me what I'm missing as I can't interpret this chart because I have no Idea what Root, 2, 3, 4, 5, 6, 7 means and why it translates to whole, whole, half, whole, whole, whole, half.

Thanks in advance.


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## distressed_romeo

Firedragon said:


> Guy's, can you help me as this is way over my head.
> 
> I feel stupid not being able to understand what is probably an easy concept.
> 
> I'll start with the easiest one Major/Ionian, R,2,3,4,5,6,7.
> 
> Using virtual guitar I get C Major as C,D,E,F,G,A,B to me that is whole, whole, half, whole, whole, whole, half. I get this pattern with any note that I start with.
> 
> Can some one please tell me what I'm missing as I can't interpret this chart because I have no Idea what Root, 2, 3, 4, 5, 6, 7 means and why it translates to whole, whole, half, whole, whole, whole, half.
> 
> Thanks in advance.



OK...All the numbers represent is that note's interval from the root note. For instance, a Mixolydian mode is written as R 2 3 4 5 6 b7; the root note, the second (a whole step from the root), the third (two whole steps from the root), the perfect fourth (2.5 whole steps from the root), the perfect fifth (three and a half whole steps from the root), the sixth (four and a half whole steps from the root) and the dominant seventh (five whole steps from the root). If you bear that in mind, it should be easy to convert this chart into half-steps and whole steps.

Hope that helps!


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## El Caco

Thanks that helps, I'm still a little vague but I'll get it.


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## guitarplayerone

I notice once you understand modes, you undersrand them, imo saying 'mode four of melodic minor' is almost, if not more descriptive, than saying 'lydian dominant'. But, thanks a lot, im going to wikipedia this if its alright with you, they need a list like this (perfect size, i think)

+1


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## distressed_romeo

Awesome. Cheers man! Send us a link when you do.


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## distressed_romeo

guitarplayerone said:


> I notice once you understand modes, you undersrand them, imo saying 'mode four of melodic minor' is almost, if not more descriptive, than saying 'lydian dominant'.



Personally I find it even easier to just think of them in terms of the tonality; for example, the Lydian Dominant scale I would think of as just being a dominant scale incorporating the augmented fourth. I find this makes it a lot easier to incorporate these scales into your playing than memorising thousands of names and positions would.


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## K3V1N SHR3DZ

in C ionian/major:
Root=C, 2=D, 3=E, 4=F, 5=G, 6=A, 7=G. that's it. 
but i don't understand where you're stuck. please elaborate.


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## M A R K

A lot of good stuff in this thread, thanks everyone


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## CentaurPorn

<- Needs to learn theory so this makes sense. Props for putting in the work though


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## chrismgtis

Whoa. I have no clue how to read this.


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## Amiro

I'm also having problems readning this. Do you base everything of the major scale pattern, and then everything else is just a mod of it?


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## fatfinger

You could also make these scales on the Virtual Guitar to see what they look like. Take a screen shot of them or print them too.


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## Dimebag313

A-FUCKIN-MAZING


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## Slaughterhouse

distressed_romeo said:


> Thought some of you would find this interesting...



This great, but if you don't know how a Harmonic Minor scale relates to the Major scale, Simply saying R, 2, 3, 4 etc. doesn't help because you would have to know what the intervals between the notes already are on a Harmonic Scale before you can translate

If you could base it off its relation to the Major scale, that would help a lot. 


Hopefully that makes sense


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## baconbag

I'm trying to learn music theory so give me a break. But... how do you read this. I understand that it is relative and R=root, but are the numbers whole steps and then the half steps are determined by whether they are sharp or flat? And what is the point of bb7 in the Ultralocian scale? Or is that just a typo? Please help me out. Thanks.


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## baconbag

Ok, I think I figured it out. Is it all related to the major scale as far as the accidentals are concerned? Still, some clarification would be nice.


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## Mr. Big Noodles

Yes, you got it. 1 is the tonic (or root, if you're talking about chords), and the 2, 3, 4, 5, 6, and 7 are all major or perfect intervals from the tonic.

2 = major 2nd
3 = major 3rd
4 = perfect 4th
5 = perfect fifth
6 = major sixth
7 = major seventh

Incidentally, 1 2 3 4 5 6 7 is the formula for the major scale. We use this as the basis for comparison for other scales.

As soon as you start adding accidentals, you get different intervals from the root/tonic:

b2 = minor second
#2 = augmented second
b3 = minor third
#4 = augmented fourth
b5 = diminished fifth
#5 = augmented fifth
b6 = minor sixth
#6 = augmented sixth (probably won't see this much; usually written as b7)
bb7 = diminished seventh
b7 = minor seventh

When you add accidentals, our formula changes, and we no longer have a major scale. 1 2 3 4 5 6 b7 is a mixolydian scale, for example.

The bb7 that you were asking about, it's not a typo. It comes from the spelling of the diminished seventh chord.

maj7 = 1 3 5 7 ("major seven")
7 = 1 3 5 b7 ("dominant seven")
m7 = 1 b3 5 b7 ("minor seven")
ø7 = 1 b3 b5 b7 ("half diminished seven", or "minor seven flat-five")
°7 = 1 b3 b5 bb7 ("fully diminished seven", or "diminished seven")

The ultralocrian mode comes from the harmonic minor scale (1 2 b3 4 5 b6 7), starting on the seventh note. If you arrange the harmonic minor scale to begin on the seventh note, you get this: 7 1 2 b3 4 5 b6

If you then make that 7 into a 1, you get this: 1 b2 b3 b4 b5 b6 bb7


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## SirMyghin

fuck. I need to write something in ultra-locrian. Why? because it sounds so badass.


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## baconbag

Thanks, it's much more clear now. Might take me a while to interpret each scale, but I have a good place to start.


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## Hollowway

SchecterWhore said:


> Yes, you got it. 1 is the tonic (or root, if you're talking about chords), and the 2, 3, 4, 5, 6, and 7 are all major or perfect intervals from the tonic.
> 
> 2 = major 2nd
> 3 = major 3rd
> 4 = perfect 4th
> 5 = perfect fifth
> 6 = major sixth
> 7 = major seventh
> 
> Incidentally, 1 2 3 4 5 6 7 is the formula for the major scale. We use this as the basis for comparison for other scales.
> 
> As soon as you start adding accidentals, you get different intervals from the root/tonic:
> 
> b2 = minor second
> #2 = augmented second
> b3 = minor third
> #4 = augmented fourth
> b5 = diminished fifth
> #5 = augmented fifth
> b6 = minor sixth
> #6 = augmented sixth (probably won't see this much; usually written as b7)
> bb7 = diminished seventh
> b7 = minor seventh
> 
> When you add accidentals, our formula changes, and we no longer have a major scale. 1 2 3 4 5 6 b7 is a mixolydian scale, for example.
> 
> The bb7 that you were asking about, it's not a typo. It comes from the spelling of the diminished seventh chord.
> 
> maj7 = 1 3 5 7 ("major seven")
> 7 = 1 3 5 b7 ("dominant seven")
> m7 = 1 b3 5 b7 ("minor seven")
> ø7 = 1 b3 b5 b7 ("half diminished seven", or "minor seven flat-five")
> °7 = 1 b3 b5 bb7 ("fully diminished seven", or "diminished seven")
> 
> The ultralocrian mode comes from the harmonic minor scale (1 2 b3 4 5 b6 7), starting on the seventh note. If you arrange the harmonic minor scale to begin on the seventh note, you get this: 7 1 2 b3 4 5 b6
> 
> If you then make that 7 into a 1, you get this: 1 b2 b3 b4 b5 b6 bb7



OK, let me ask you about this. In the chart it says under "Major scale and it's mode" it says for Ionian that it's R,2,3,4,5,6,7. And then under Melodic Minor it says R,2,b3,4,5,6,7. So that makes sense, because the (ascending) melodic minor scale is basically the same as the A major scale but with a minor 3rd. But then for the harmonic minor scale it lists it as R,2,3,4,5,6,7. Shouldn't it be R,2,b3,4,5,b6,7?


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## Mr. Big Noodles

Hollowway said:


> OK, let me ask you about this. In the chart it says under "Major scale and it's mode" it says for Ionian that it's R,2,3,4,5,6,7. And then under Melodic Minor it says R,2,b3,4,5,6,7. So that makes sense, because the (ascending) melodic minor scale is basically the same as the A major scale but with a minor 3rd.



Yes, you've got it.



> But then for the harmonic minor scale it lists it as R,2,3,4,5,6,7. Shouldn't it be R,2,b3,4,5,b6,7?


And, again, you are correct.


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## tuneinrecords

Just downloaded the list 7 times somehow even though I clicked on the link only once. haha, go figure.


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## Apothic

Ugh I don't have MS Office...


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## ElRay

Apothic said:


> Ugh I don't have MS Office...


I haven't tried this particular .DOC, but OpenOffice, NeoOffice, AbiWord and "I'm sure there's more out there, Ask Dr. Google" should be able to open it.

If you're on a Mac, TextEdit.app will open it easy-peasy.

Actually, if you're on 'Doze, then WordPad is a freebie that should be able to open this, correct?

Ray


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## Thrashman

And yes, to clarify, everything is a mod of the major scale in ways.

Then there are mods like the harmonic/melodic minor scales which are totally different.

An example of how the 1,2,3.. etc, works is to explain things by writing down the c major scale, which is C, D, E, F, G, A, B, and change the root note every time.

1, 2, 3, 4, 5, 6, 7, 8 <- C major(Ionian) scale (C D E F G A B C)
No sharps and no flat's here

*Now, lets do the same thing but from D to D, making D our root.*
This is how it will look like in intervals

1, 2, b3, 4, 5, 6, b7, 8 <- D dorian scale (D E F G A B C D)
This is, as you can see, a major scale with a flat third and a flat seventh, as described by the "b" sign in front of the 3 and 7.

This can also be seen as a minor scale with a major 6th.

Next up: E-E

1, b2, b3, 4, 5, b6, b7, 8 <- E phrygian scale (E, F, G, A, B, C, D, E)
This is a major scale with a flat second, flat third, flat sixth and flat seventh.

We refer to it as a minor scale with a flat 2nd, though.

Now: F-F

1, 2, 3, #4, 5, 6, 7, 8 <- F lydian scale (F, G, A, B, C, D, E, F)
This is a major scale with a raised 4th note.

------------
G-G this time

1, 2, 3, 4, 5, 6, b7, 8 <- G mixolydian scale (G, A, B, C, D, E, F, G)
This is a major scale with a flat seventh note.

Now, A-A

1, 2, b3, 4, 5, b6, b7, 8 <- A aeolian scale (A, B, C, D, E, F, G, A)
This is a major scale with a flat third, flat sixth and a flat seventh.

*This is also a pure minor scale.* 


Last one, B-B

1, b2, b3, 4, b5, b6, b7, 8 <- B locrian scale (B, C, D, E, F, G, A, B)
This is a major scale with a flat sexond, flat third, flat fifth, sixth and seventh.

This could also be referred to as a minor scale with a flat 2nd and a flat 5th.



What you have here, is the seven major modes and the intervals in those scales. 1=root.

I hope this clarify's some things for you.


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## Judas Prius

Good list! Time to start working on them, one by one.


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## wizbit81

Two resources...and really the only two you would ever/never need (see what I did there?) would be the Thesaurus of Melodic Patterns by Nicolas Slonimsky, and An Improvisers OS by Wayne Krantz. Slonimsky is very heavy and classically oriented, but the Krantz one is brilliant. It's totally a written version of what Allan Holdsworth did when he started learning and contains every possible scale. Except, he doesn't think of them as 'scales' as such, he prefers to think of them as limited note groupings or 'flavours' you can use and shift between. If you think like that when improvising around scale shapes you are familiar with it's a great way to first introduce single notes you wouldn't normally use, going into full waaaaaaaaay out tension territory. If I'd found that and grasped the concepts when I was about 17 I might have been a fusion professional, instead of having a degree in jazz but working in IT!


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## median

This is an awesome thread. Thx


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## R-Savage

This is a fantastic thread.


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## carvincrazy

distressed_romeo said:


> Thought some of you would find this interesting...



what did you mean when you used "B" instead of "b"? I thought it was a typo at first, but then saw it throughout the document.


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## ghost_of_karelia

OK, so this is going to be a massively n00by post, but there's steam blowing out of my ears here!

I'm pretty much a novice to music theory. I learned the major scale, natural minor, harmonic minor and melodic minor as the "TTsTTTs" thing, and these modes make absolutely no sense to me. I understand how you form them and how they're made, I just don't actually get what they're _for_.

When you write a song in a particular mode, what drives you to write the song in that mode? Also, and this is a broad question (for which I apologise sincerely, it's not fun being a scrub at these things), HOW do you *"write a song in X mode"*?

I want to get into writing music, but I quite literally have no idea what I'm doing. I have some riffs written on lined paper blu-tacked to my bedroom wall that fit into keys only because the notes happened to all be in the keys' scales, but that's as far as I've got.

Will someone be my saviour and tell me what the dicks I'm meant to be doing?!


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## Mr. Big Noodles

jarvncaredoc said:


> OK, so this is going to be a massively n00by post, but there's steam blowing out of my ears here!
> 
> I'm pretty much a novice to music theory. I learned the major scale, natural minor, harmonic minor and melodic minor as the "TTsTTTs" thing, and these modes make absolutely no sense to me. I understand how you form them and how they're made, I just don't actually get what they're _for_.



Good observation. You can think of "mode" to mean "style" or "mood". You are already familiar with two modes that have their own sets of implications: the major and minor modes. We typically associate the major scale with positivity, happiness, serenity, all sorts of vague descriptors that basically mean the same thing, and the minor mode we associate with conflict and negativity, etc., though these modes do not necessarily represent themselves in those ways all the time. I like to look at the diatonic modes as colorations upon those two basic modes. We can organize all of the modes by their "brightness", meaning that we can compare a mode that has more raised notes (the major scale, or lydian scale) against a mode that has more lowered notes (the phrygian or locrian scale).

Lydian - 1 2 3 #4 5 6 7
Major - 1 2 3 4 5 6 7
Mixolydian - 1 2 3 4 5 6 &#9837;7

Dorian - 1 2 &#9837;3 4 5 6 &#9837;7
Pure Minor - 1 2 &#9837;3 4 5 &#9837;6 &#9837;7
Phrygian - 1 &#9837;2 &#9837;3 4 5 &#9837;6 &#9837;7

Locrian - 1 &#9837;2 &#9837;3 4 &#9837;5 &#9837;6 &#9837;7

Those colors are arbitrary, and if you asked me tomorrow I'd probably give you completely different ones, but the spirit of my choice is that the brightest stuff is at the top of my list, the darkest at the bottom, and that there are three groups you need to think of. Those three groups are chosen because of their tonic triads: lydian, major, and mixolydian all share a major triad (1 3 5) for their tonic chord , dorian, pure/natural/aeolian minor all share a minor triad (1 &#9837;3 5), and locrian is on its own with a diminished tonic triad (1 &#9837;3 &#9837;5). This is the meat and potatoes. We then fill in the color of the modes with the other four notes.

The next thing I like to point out is the axial relationship between the three major modes and three minor modes. Think of the two big modes being the major and the minor, and the modes around them as offshoots that lead to some colors of another group. So, mixolydian has the major thing going, 1 2 3 4 5 6, and then a hint of the darkened, flatted side of minor: &#9837;7. It's still major, but it pulls a little toward minor, has a bit of attitude. Then, dorian has all the hallmarks of minor, 1 2 &#9837;3 4 5, &#9837;7, but the 6 pulls it a little toward the major side of things. In fact, if you talk to people about it, I think that you'll find mixolydian described as "major with a lowered 7" and dorian as "minor with a raised sixth" (as opposed to mixolydian with a lowered third), indicating that the two modes are being compared to major and minor respectively, rather than some all-inclusive system.

Continuing, phrygian is like minor, but that &#9837;2 pulls it strongly into locrian realm, which is the darkest of all modes. Locrian, arguably, does not exist in practice, but that's a different topic.

Here are a couple of tunes with similar basslines:

Ray Charles - Hit The Road Jack


Pat Benatar - True Love



Hit The Road Jack uses this 1 &#9837;7 &#9837;6 5 pattern from the natural minor, whereas True Love utilizes the dorian equivalent, 1 &#9837;7 6 5. We know minor really well, so it sounds kind of basic. I don't know what kind of emotional attributes go with that 6 in dorian, but I think it sounds a little more ambiguous, a little more interesting. Has more modal color than the basic minor thing. If you want something in the minor family that is really moody, phrygian might be the way to go.

Pink Floyd - Set The Controls For The Heart Of The Sun


Alice In Chains - Would?



You can hear a lot of interplay between the minor modes (and even a bit of locrian) in the first movement of Kodály's cello sonata, in which he treats the modes as coloration on the basic minor sound:

Zoltán Kodály - Cello Sonata, mvt.1


It ends in phrygian, with the characteristic &#9837;2 1 cadence (right before that awful B minor quadruple stop at the very end).



> When you write a song in a particular mode, what drives you to write the song in that mode? Also, and this is a broad question (for which I apologise sincerely, it's not fun being a scrub at these things), HOW do you *"write a song in X mode"*?


Force myself to write with that mode.  (I'm kind of serious about this. The fastest and probably the best way to learn composition is to make yourself conform to a preset rule. More on that later.)

I don't focus a whole lot on modes. They take about 40 seconds to learn, but the internet makes it seem like there is some big secret to be wrestled from their presumed depths. Don't worry about modes, learn harmony and form and things that matter.



> I want to get into writing music, but I quite literally have no idea what I'm doing. I have some riffs written on lined paper blu-tacked to my bedroom wall that fit into keys only because the notes happened to all be in the keys' scales, but that's as far as I've got.
> 
> Will someone be my saviour and tell me what the dicks I'm meant to be doing?!


I'm a firm believer in education. I think you need to know what you're doing, so I'm always going to recommend learning music theory and doing exercises like your life depended on it. That's not composition, but it gives you the tools to compose, just like learning to read and analyze literary form gives you the tools for writing your own literature, or how going to engineering school will probably prevent a few lawsuits, should anybody ever hire you to build a bridge or design an airplane.

Composition is a highly personal process which takes a lot of trial and error. I'd say the first big obstacle you have to tackle is actually writing something. A lot of people have a few riffs hanging around, some actually write songs, a small portion of those folks know what's happening in their music, an even smaller portion of that group can objectively critique their own work, and an even smaller group of those people can improve on what they originally wrote. However, they all start in the "hey, I have a bunch of tiny ideas, but I don't know how to put them together" phase. This is the trick to get better: *Always write complete pieces. *I'd encourage you to write a piece for a solo instrument (it goes faster this way), and to give yourself a few parameters. You want to learn to plan your music, so forcing yourself to write a piece for solo guitar in ABA form that starts in the key of A and ends in the key of A, with at least 1 other key in the middle, would be an excellent skeleton upon which to build a short study: you have a vague idea of what's coming next, so you can work up to it, rather than flopping around in the dark.


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## ghost_of_karelia

Thanks so much, man! Pretty much answered all of my queries in one post


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## doug7string

Hi all !

I create a new website where we can find some shapes for scales and chords.

http://www.x-strings.com


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## RyanP

Awesome man, thank you so much for this


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## ducer

Also check Guitar Scales @ Chordbook.Com


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## ROB SILVER

If this is any help to anyone... as far as I can tell, everything on the list is mapped out in all positions on my blog.
Everything for six string and loads for seven and eight string as well.

MY SCALE ARCHIVE


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## scrambles

It helps me to write the scales out on a fretboard - this may be helpful to any 8-stringers out there.

8 String Guitar Scale Blanks


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## InHiding

Here are Joe Satriani's modes videos. Really good in my opinion. If you're going to watch videos about modes, watch these. Before learning your modes you need to understand the concept of intervals though! It's all about intervals.

Joe Satriani Lesson 'On the Modes' #1 (synchronized) - YouTube

Joe Satriani Lesson 'On the Modes' #2 (synchronized) - YouTube

(You need to click the links. Direct youtube embedding does not work for these videos for some reason, sorry.)


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## thesnowdog

...just in case it's handier.


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## PunchLine

Desecrated said:


> How would this look if you used diminished as base and made modes out of that scale ?
> 
> How do you make modes out of a scale, is there a certain technique/method used or ?



There are no modes of diminished scale. While they are practically the same scale, you can think of two diminished scales: the Half-whole scale and the Whole-half scale. When you start on a note and keep playing both of these scales up the register, you play the same notes. Only the starting note is different. The scale repeats itself every minor 3rd interval. 

As long as you know which note to start from and which interval to lead with, i.e. start on an A note and play a half step up or play whole step up, you can use the scale confidently.


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## levitator

very cool man! thanks!


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## JeremyRodriguez5544998

YOU WENT ALL OUT! Haha. Much appreciated!


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## JohnTanner

damn, im sure this would be very helpful. I'm not even sure how to read it though haha Any tips on how exactly to go about executing these modes with little knowledge of theory? like a walkthrough or something of that nature you can link me to

Thanks!


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## gingamann

awesome work bud!!! nice collection, thanks for sharing


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## gingamann

JohnTanner said:


> damn, im sure this would be very helpful. I'm not even sure how to read it though haha Any tips on how exactly to go about executing these modes with little knowledge of theory? like a walkthrough or something of that nature you can link me to
> 
> Thanks!



Im reading this as it is based on the major scale... so... W W H W W W H (*whole*, *whole*, *half*, *whole*, *whole*, *whole*, *half*)

R = root ....pick a spot to start.
2 = second note up from root in the whole/half / major scale... or if it is # or flatted - half step up or down
3 = third note up from root in the whole/half / major scale.. or if it is # or flatted - half step up or down
etc...

idk... maybe im full of sh*t..lol maybe not... hope it helps


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## sergiomT

awesome thread! keep on!


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## grigou

I share the amazing work of Ian Ring : https://ianring.com/musictheory/scales/finder.php
You will find all the scales in the world !
And his YouTube channel : https://www.youtube.com/channel/UCc6BBUE5zmmLMT-NQ_8sTzQ

Hope it helps !


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## ixlramp

I just wanted to mention that the document attached ib the first post has some errors, and in my opinion is certainly not a 'big' list. So i do not think this thread deserves to be stickied.


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## nanthil

distressed_romeo said:


> Thought some of you would find this interesting...


Is there a way to get this sort of thing in sheet music notation? I can't find anything like that!


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