MOUTH SHAPS / MAKING SOUND
The following outlines the first steps to attaining a good mouth shape for trumpet playing.
* Keep your teeth slighly apart. Your lips should be only lightly touching. Hold the lips as if about to say the 'M' in 'mother'.
* Blow to make your lips buzz.
* Now put the trumpet mouthpiece on your lips and make the same buzz into the center of the mouthpiece.
* To make a clear start to the sound you use your tongue. Start the next buzz with a 'T'. Do not put your tongue outside your lips - it stays inside your mouth.
* Now try putting the mouthpiece into the instrument and try the same thing- you should be able to produce a note.
Things to watch out for:
* Do not stick your lips out as if blowing a kiss!
* Do not puff your cheeks out when blowing
* Do try to breathe from your stomach - when you take a deep breath don't raise your shoulders.
* Do practise blowing long notes into your instrument and holding them. Learning to control your breath is crucial to good trumpet playing.
HIGH AND LOW SOUND:
Once you've practised the lip-buzzing we discussed in Lesson 1, we'll see here how it's possible to make higher and lower sounds by adjusting your lips.
* To make higher sounds, your lips must be tighter together when you blow the air through them. You will have to blow harder to make this happen.
* To make lower sounds, relax the lips and blow more softly.
Start by trying to make higher and lower sounds into the mouthpiece by itself. When you think you've got the hang of it, try it on the trumpet itself.
Up and down exercise
BREATHING CONTROL:
Learning how to control your breath is crucial to good trumpet playing. Here we'll take you through some of the basic dos and donts.
Breathing in
When you breath in, the air should fill the lower reaches of the lungs first. You should be able to feel your abdomin swelling up as you breath in. Most importantly - do not let your shoulders rise as you breath.
Breathing out
The main thing to learn about breathing out is being able to control the speed at which the air is exhaled.
To play a long note at a consistent volume, you need to exhale at a consistent level. All loudness and softness on the trumpet is controlled by the speed of the air.
Exercise playing long notes
* Play long notes with full breaths. Do not strain at the end, but remain relaxed.
* When the note has finished, inhale fully and play the same note again.
* Once you have practised this a few times repeat the exercise starting very soft and increasing in volume to the end of the note. Try to time the increase so that you don't arrive too soon at the loud note.
Rabu, 28 April 2010
Diminished scale
"Diminished Scales"
The Tension Scale!
dim-scale-c-set-smallThe diminished scale presents a unique set of circumstances to learn a special type of scale.
Although many students learn about diminished chords the scale is not typically one of the areas that many music students take time to study.
What this really means is that you can invert the scale form and accomplish all twelve note pitch starting points. As we work through the math formula you see how this is accomplished.
The neat thing about this is that you apply the pattern three times and you have learned all the scales. They just start at different points.
Diminished types of scales can be confusing because of the application of diminishing already minor or diminished notes. Thus use of of enharmonic spellings is quite common.
This simply means we use note names that are simpler to recognize and say. An example might be saying the note of 'A' rather than saying 'B double flat'.
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The Diminished Scales Characteristics
Notation: + = augmented or raised a half step; d = dim = diminished;
bb = double flat, x = double sharp (##)
The diminished pattern uses a lot of the minor intervals. Some overall characteristics:
* There are 9 notes that make up a diminished scale instead of eight.
* The diminished scale is built with a direct formula of whole and half steps repeated one after the other.
* The diminished pattern diminishes the 3rd, 5th, 6th, m7 and 8. However, this gets to be to confusing with a bb7 and b8, so enharmonic intervals are used to make it easier.
* Enharmonic spellings are common for both scales and chords that are diminished. The 5th is often labeled both as a diminished 5 and a augmented 5. The bb7 is spelled as a 6th interval. And the d8 is a seventh.
* From the intervals we can create a whole and half step pattern to define the diminished scale.
Other things to be aware of as we work through the scale.
* The primary notes are the minor 3rds (m3rd).
* The secondary notes are in between the m3rds.
* Two full diminished chords with different notes can be created from the scale.
The unison interval is called the tonic indicating the starting note of a scale. Tonic will be used to describe the first note.
This is what the diminished scale looks like when starting on C and working into the second octave to A
Constructing Scales of the Diminished Type
These scales are developed mathematically using whole and half steps. We assign numeric value (an interval) to each note, the scales will use the numbers 1 2 3 4 5 6 7 8. The full diminished scale will use 9 notes.
The diminished scale pattern is a whole - half step repeating pattern. Initially one can look at it as diminishing the 3rd, 5th, 6th, a m7th, and 8th.
This is difficult to remember. Using enharmonic spellings the diminished scale will have a dim 5th and an aug 5th and is much easier to work with.
The Intervals
1 - 2 - m3 - 4 - d5 - +5 - 6 - 7 - 8
The Notes
C - D - Eb - F - Gb - G# - A - B - C
Diminished Scale Relationships
Previously we talked about how several diminished scales use the same notes. So four scales have these same notes and are simple inversions of each other.
How do you determine which notes define the new scale? The most direct way is by the whole - half pattern. At each point where the next step is a whole step is the new key or related scale.
Look at the C dim chord that is based on m3rds. This is the place where the whole step will take place and are C - Eb - Gb - A . These are the inversion points for the three other scales that can be built from the same notes.
Here is the math to show scales of Eb dim as part of the C dim.
S + W + H + W + H + W + H + W + H
C Diminished:
C - D - Eb - F - Gb - G# - A - B - C
Eb - F - Gb - G# - A - B - C - D - Eb
EB Diminished + W + H
From here the other variations are used for harmonic and melodic minors. This is the practical knowledge you need to know about minors.
Examining the Diminished Four Scales that are Related
Returning to the treble clef that had our scale notes from middle C to and octave higher A. We can show all four related scales using the same notes.
The Tension Scale!
dim-scale-c-set-smallThe diminished scale presents a unique set of circumstances to learn a special type of scale.
Although many students learn about diminished chords the scale is not typically one of the areas that many music students take time to study.
What this really means is that you can invert the scale form and accomplish all twelve note pitch starting points. As we work through the math formula you see how this is accomplished.
The neat thing about this is that you apply the pattern three times and you have learned all the scales. They just start at different points.
Diminished types of scales can be confusing because of the application of diminishing already minor or diminished notes. Thus use of of enharmonic spellings is quite common.
This simply means we use note names that are simpler to recognize and say. An example might be saying the note of 'A' rather than saying 'B double flat'.
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The Diminished Scales Characteristics
Notation: + = augmented or raised a half step; d = dim = diminished;
bb = double flat, x = double sharp (##)
The diminished pattern uses a lot of the minor intervals. Some overall characteristics:
* There are 9 notes that make up a diminished scale instead of eight.
* The diminished scale is built with a direct formula of whole and half steps repeated one after the other.
* The diminished pattern diminishes the 3rd, 5th, 6th, m7 and 8. However, this gets to be to confusing with a bb7 and b8, so enharmonic intervals are used to make it easier.
* Enharmonic spellings are common for both scales and chords that are diminished. The 5th is often labeled both as a diminished 5 and a augmented 5. The bb7 is spelled as a 6th interval. And the d8 is a seventh.
* From the intervals we can create a whole and half step pattern to define the diminished scale.
Other things to be aware of as we work through the scale.
* The primary notes are the minor 3rds (m3rd).
* The secondary notes are in between the m3rds.
* Two full diminished chords with different notes can be created from the scale.
The unison interval is called the tonic indicating the starting note of a scale. Tonic will be used to describe the first note.
This is what the diminished scale looks like when starting on C and working into the second octave to A
Constructing Scales of the Diminished Type
These scales are developed mathematically using whole and half steps. We assign numeric value (an interval) to each note, the scales will use the numbers 1 2 3 4 5 6 7 8. The full diminished scale will use 9 notes.
The diminished scale pattern is a whole - half step repeating pattern. Initially one can look at it as diminishing the 3rd, 5th, 6th, a m7th, and 8th.
This is difficult to remember. Using enharmonic spellings the diminished scale will have a dim 5th and an aug 5th and is much easier to work with.
The Intervals
1 - 2 - m3 - 4 - d5 - +5 - 6 - 7 - 8
The Notes
C - D - Eb - F - Gb - G# - A - B - C
Diminished Scale Relationships
Previously we talked about how several diminished scales use the same notes. So four scales have these same notes and are simple inversions of each other.
How do you determine which notes define the new scale? The most direct way is by the whole - half pattern. At each point where the next step is a whole step is the new key or related scale.
Look at the C dim chord that is based on m3rds. This is the place where the whole step will take place and are C - Eb - Gb - A . These are the inversion points for the three other scales that can be built from the same notes.
Here is the math to show scales of Eb dim as part of the C dim.
S + W + H + W + H + W + H + W + H
C Diminished:
C - D - Eb - F - Gb - G# - A - B - C
Eb - F - Gb - G# - A - B - C - D - Eb
EB Diminished + W + H
From here the other variations are used for harmonic and melodic minors. This is the practical knowledge you need to know about minors.
Examining the Diminished Four Scales that are Related
Returning to the treble clef that had our scale notes from middle C to and octave higher A. We can show all four related scales using the same notes.
90 scale dan arpeggio in A
1 Mayor A B C# D E F# G#
2 May Pentatonic A B C# E F#
3 Blues May A C D D# E F#
4 Minor A B C D E F G
5 Melodic Minor A B C D E F# G#
6 Harmonic Minor A B C D E F G#
7 Min Pentatonic A C D E G
8 Blues Min A C D D# E G
9 Augmented A C C# E F# G#
10 Bebop A B C# D E F# G G#
11 Cromatic A A# B B# C C# etc etc
12 Whole half A B C D D# F F# G#
13 Half Whole A A# C C# D# E F# G
14 Whole Tone A B C# D# F G
15 Augmented Fifth A B C# D E F F# G#
16 Algerian A B C D# E F G#
17 Arabian A B C# D D# F G
18 Balinese A A# C E F
19 Bartok A B C# D# E F# G
20 Byzanter A A# C# D E F G#
21 Chinese A B C# E F#
22 Egyptian A B D E G
23 Enigmantic A A# C# D# F G G#
24 Spanish A A# C# D E F G
25 Spanish 8 Tone A A# C C# D D# F G
26 Ethiophian A B C D E F G
27 Gipsy A A# C# D E F# G
28 Hungarian A B C D# E F G
29 Hindu A B C# D E F G
30 Iwato A A# D D# G
31 Japanese A A# D E F
32 Japanese A A# C D E F# G
33 Jewish A A# C# D E F G
34 Hawaian A B C D E F# G#
35 Hirajoshi A B C E F
36 Hungarian Min A B C D# E F G#
37 Hungarian May A C C# D# E F# G
38 Kumoi A A# D E F
39 Leading WT A B C# D# F G G#
40 Muhammad A B C D E F G#
41 Mongolia A B C# E F#
42 Neapolitan A A# C D E F
43 Neapolitan May A A# C D E F# G#
44 Oriental A A# C# D D# F# G
45 Over Tone A B C# D# E F# G
46 Pelog A A# C E G
47 Persian A A# C# D D# F G#
48 Ionian A B C# D E F# G#
49 Dorian A B C D E F# G
50 Phyrigian A A# C D E F G
51 Lydian A B C# D# E F# G#
52 Mixolydian A B C# D E F# G
53 Aeolian A B C D E F G
54 Locrian A A# C D D# F G
55 Ionian Harmonic A B C D E F G#
56 Locrian Nat 6 A A# C D D# F# G
57 May Sharp 5 A B C# D F F# G#
58 Dorian Sharp 4 A B C D# E F# G
59 Phyrigian May A A# C# D E F G
60 Lydian Sharp 2 A C C# D# E F# G#
61 Super Locryan Double Flat 7 A A# C C# D# F F#
62 Jazz Minor A B C D E F# G#
63 Dorian B2 Minor A A# C D E F# G#
64 Lydian Agmented Minor A B C# D# F F# G#
65 Lydian Flat 7 Minor A B C# D# E F# G
66 Mixolydian Flat 6 Minor A B C# D E F G
67 Locrian Sharp 2 Minor A B C D D# F G
68 Super Locrian Minor A A# C C# D# F G
69 Pentatonic Major A B C# E F F#
70 Pentatonic Mode 2 A B D E G
71 Pentatonic Mode 3 A C D F G
72 Pentatonic Mode 4 A B D E F#
73 Pentatonic Dominan A B C# E G
74 Pentatonic Minor A C D E G
75 Alfered Pentatonic A A# C# E F#
76 Blues A C D D# E F#
77 May Arpegio A C# E
78 Min Arpegio A C E
79 Maj 7 Arpegio May A C# E G#
80 Maj 7 Arpegio Min A C# E G
81 Min 7 Arpegio May A C E G#
82 Min 7 Arpegio Min A C E G
83 May 9 Arpegio A B C# E G
84 Min 9 Arpegio A B C E G
85 May 11 Arpegio A B C# D E G
86 Min 11 Arpegio A B C D E G
87 May 13 Arpegio A B C# D E F# G
88 Min 13 Arpegio A B C D E F# G
89 Augmented Arpegio A C# F
90 Diminished Arpegio A C D# F#
Note : untuk chord lainnya tinggal sesuaikan
2 May Pentatonic A B C# E F#
3 Blues May A C D D# E F#
4 Minor A B C D E F G
5 Melodic Minor A B C D E F# G#
6 Harmonic Minor A B C D E F G#
7 Min Pentatonic A C D E G
8 Blues Min A C D D# E G
9 Augmented A C C# E F# G#
10 Bebop A B C# D E F# G G#
11 Cromatic A A# B B# C C# etc etc
12 Whole half A B C D D# F F# G#
13 Half Whole A A# C C# D# E F# G
14 Whole Tone A B C# D# F G
15 Augmented Fifth A B C# D E F F# G#
16 Algerian A B C D# E F G#
17 Arabian A B C# D D# F G
18 Balinese A A# C E F
19 Bartok A B C# D# E F# G
20 Byzanter A A# C# D E F G#
21 Chinese A B C# E F#
22 Egyptian A B D E G
23 Enigmantic A A# C# D# F G G#
24 Spanish A A# C# D E F G
25 Spanish 8 Tone A A# C C# D D# F G
26 Ethiophian A B C D E F G
27 Gipsy A A# C# D E F# G
28 Hungarian A B C D# E F G
29 Hindu A B C# D E F G
30 Iwato A A# D D# G
31 Japanese A A# D E F
32 Japanese A A# C D E F# G
33 Jewish A A# C# D E F G
34 Hawaian A B C D E F# G#
35 Hirajoshi A B C E F
36 Hungarian Min A B C D# E F G#
37 Hungarian May A C C# D# E F# G
38 Kumoi A A# D E F
39 Leading WT A B C# D# F G G#
40 Muhammad A B C D E F G#
41 Mongolia A B C# E F#
42 Neapolitan A A# C D E F
43 Neapolitan May A A# C D E F# G#
44 Oriental A A# C# D D# F# G
45 Over Tone A B C# D# E F# G
46 Pelog A A# C E G
47 Persian A A# C# D D# F G#
48 Ionian A B C# D E F# G#
49 Dorian A B C D E F# G
50 Phyrigian A A# C D E F G
51 Lydian A B C# D# E F# G#
52 Mixolydian A B C# D E F# G
53 Aeolian A B C D E F G
54 Locrian A A# C D D# F G
55 Ionian Harmonic A B C D E F G#
56 Locrian Nat 6 A A# C D D# F# G
57 May Sharp 5 A B C# D F F# G#
58 Dorian Sharp 4 A B C D# E F# G
59 Phyrigian May A A# C# D E F G
60 Lydian Sharp 2 A C C# D# E F# G#
61 Super Locryan Double Flat 7 A A# C C# D# F F#
62 Jazz Minor A B C D E F# G#
63 Dorian B2 Minor A A# C D E F# G#
64 Lydian Agmented Minor A B C# D# F F# G#
65 Lydian Flat 7 Minor A B C# D# E F# G
66 Mixolydian Flat 6 Minor A B C# D E F G
67 Locrian Sharp 2 Minor A B C D D# F G
68 Super Locrian Minor A A# C C# D# F G
69 Pentatonic Major A B C# E F F#
70 Pentatonic Mode 2 A B D E G
71 Pentatonic Mode 3 A C D F G
72 Pentatonic Mode 4 A B D E F#
73 Pentatonic Dominan A B C# E G
74 Pentatonic Minor A C D E G
75 Alfered Pentatonic A A# C# E F#
76 Blues A C D D# E F#
77 May Arpegio A C# E
78 Min Arpegio A C E
79 Maj 7 Arpegio May A C# E G#
80 Maj 7 Arpegio Min A C# E G
81 Min 7 Arpegio May A C E G#
82 Min 7 Arpegio Min A C E G
83 May 9 Arpegio A B C# E G
84 Min 9 Arpegio A B C E G
85 May 11 Arpegio A B C# D E G
86 Min 11 Arpegio A B C D E G
87 May 13 Arpegio A B C# D E F# G
88 Min 13 Arpegio A B C D E F# G
89 Augmented Arpegio A C# F
90 Diminished Arpegio A C D# F#
Note : untuk chord lainnya tinggal sesuaikan
Blues lesson
Blues Scale Lesson
In this blues guitar scale lesson we’ll take a look at a really common guitar scale used for blues improvisation. This scale is great to learn if you want to play blues guitar in an authentic sounding way. In fact, it would be really hard to solo in a blues guitar style without knowing it! Let’s take a look at this guitar scale now…
**Blues Guitar Scale #1: The Minor Pentatonic Scale**
If blues guitar is your passion, then learning the minor pentatonic scale is essential. If you analyse the playing of your favorite blues guitarists you will see them using it in almost EVERY solo. So, with that in mind, let's take a closer look at this scale...
The minor pentatonic scale is a five note scale that has the following formula:
1 b3 4 5 b7
This formula tells us what we need to change in the major scale in order to create this scale. Let’s work out the notes of A minor pentatonic scale to make things clearer…
Step 1:
Write down the notes of the A major scale. This gives us the following notes…
A B C# D E F# G#
Step 2:
Remove the second and sixth notes from the A major scale. This is because the formula of the minor pentatonic scale doesn’t contain a 2 or a 6. So this would give us…
A C# D E G#
Step 3:
Lower the third and seventh notes of the A major scale by one semitone (1 fret). This is because the formula of the minor pentatonic scale has a b3 and a b7. Once these notes are flattened, it gives us this…
A C D E G
These are the five notes contained in the A minor pentatonic scale.
Obviously, this theory is a waste of time unless you APPLY it. You must learn to use it in real-life playing situations.
To finish off this blues guitar scale lesson, here are a few ideas that would help you learn this scale in a practical way...
-Learning to sing it.
-Learning licks and solos that use it.
-Transcribing the guitar solos of your favorite blues guitar players.
-Practicing soloing using it over backing tracks.
-Memorizing the notes of the scale over the ENTIRE fretboard.
In this blues guitar scale lesson we’ll take a look at a really common guitar scale used for blues improvisation. This scale is great to learn if you want to play blues guitar in an authentic sounding way. In fact, it would be really hard to solo in a blues guitar style without knowing it! Let’s take a look at this guitar scale now…
**Blues Guitar Scale #1: The Minor Pentatonic Scale**
If blues guitar is your passion, then learning the minor pentatonic scale is essential. If you analyse the playing of your favorite blues guitarists you will see them using it in almost EVERY solo. So, with that in mind, let's take a closer look at this scale...
The minor pentatonic scale is a five note scale that has the following formula:
1 b3 4 5 b7
This formula tells us what we need to change in the major scale in order to create this scale. Let’s work out the notes of A minor pentatonic scale to make things clearer…
Step 1:
Write down the notes of the A major scale. This gives us the following notes…
A B C# D E F# G#
Step 2:
Remove the second and sixth notes from the A major scale. This is because the formula of the minor pentatonic scale doesn’t contain a 2 or a 6. So this would give us…
A C# D E G#
Step 3:
Lower the third and seventh notes of the A major scale by one semitone (1 fret). This is because the formula of the minor pentatonic scale has a b3 and a b7. Once these notes are flattened, it gives us this…
A C D E G
These are the five notes contained in the A minor pentatonic scale.
Obviously, this theory is a waste of time unless you APPLY it. You must learn to use it in real-life playing situations.
To finish off this blues guitar scale lesson, here are a few ideas that would help you learn this scale in a practical way...
-Learning to sing it.
-Learning licks and solos that use it.
-Transcribing the guitar solos of your favorite blues guitar players.
-Practicing soloing using it over backing tracks.
-Memorizing the notes of the scale over the ENTIRE fretboard.
blues
Udah sering saya dapat pertanyaan mengenai scale untuk musik Blues. Jadi, mumpung lagi ingat, saya coba jelaskan sedikit aja :-)
Scale blues hampir mirip-mirip dengan scale Rock n Roll. Scale ini sangat baik untuk di kuasai, karena bisa di pakai untuk improvisasi di banyak jenis musik lainnya.
Untuk Contoh, saya menggunakan nada dasar (tonic) C = do
Untuk nada dasar C = do adalah :
C – Eb – F – F# – G – Bb – C
Rumus Jarak (interval)nya adalah :
C – (1½ Nada) – Eb – (1 Nada) – F – (½ Nada) – F# – (½ Nada) – G – (1½ Nada) – Bb – (1 Nada) – C
Atau di ingat aja, dari Tonic, rumusnya adalah
1 ½ - 1 – ½ – ½ – 1 ½ – 1
Udah tau arti angka 1 dan 1/2 tersebut? Kalau belum, silahkan baca ulang artikel Teori 1|Tangga Nada
Chord Blues :
Ciri khas chord untuk Blues adalah chord 7, 6 dan 13.
Jadi untuk C = do, chord yang bisa di pakai adalah :
C7 – F7 – G7
C6 – F6 – G6 (untuk variasi chord)
C13 (untuk Ending)
Bagaimana menggunakan scale tersebut dalam sebuah lagu ?
He..he..he… ga usah bingung, selama chordnya masih pasangannya si C yaitu chord F dan G, mainkan aja scale blues tersebut sesuka hati.
Untuk Anda yang baru belajar, ingat aja scale tersebut, jangan dulu menyentuh tuts yang lain (yang tidak saya beri tanda titik merah).
Untuk latihan :
Cari style Blues pada gitar anda. Gunakan sound clean guitar untuk melodi.
Mainkan chord :
| C | C7 | F | F | C | C | G | F7 | C | G (fill in) |
Satu tanda kurung | ….. | adalah 1 bar 4/4 (4ketuk)
Scale blues hampir mirip-mirip dengan scale Rock n Roll. Scale ini sangat baik untuk di kuasai, karena bisa di pakai untuk improvisasi di banyak jenis musik lainnya.
Untuk Contoh, saya menggunakan nada dasar (tonic) C = do
Untuk nada dasar C = do adalah :
C – Eb – F – F# – G – Bb – C
Rumus Jarak (interval)nya adalah :
C – (1½ Nada) – Eb – (1 Nada) – F – (½ Nada) – F# – (½ Nada) – G – (1½ Nada) – Bb – (1 Nada) – C
Atau di ingat aja, dari Tonic, rumusnya adalah
1 ½ - 1 – ½ – ½ – 1 ½ – 1
Udah tau arti angka 1 dan 1/2 tersebut? Kalau belum, silahkan baca ulang artikel Teori 1|Tangga Nada
Chord Blues :
Ciri khas chord untuk Blues adalah chord 7, 6 dan 13.
Jadi untuk C = do, chord yang bisa di pakai adalah :
C7 – F7 – G7
C6 – F6 – G6 (untuk variasi chord)
C13 (untuk Ending)
Bagaimana menggunakan scale tersebut dalam sebuah lagu ?
He..he..he… ga usah bingung, selama chordnya masih pasangannya si C yaitu chord F dan G, mainkan aja scale blues tersebut sesuka hati.
Untuk Anda yang baru belajar, ingat aja scale tersebut, jangan dulu menyentuh tuts yang lain (yang tidak saya beri tanda titik merah).
Untuk latihan :
Cari style Blues pada gitar anda. Gunakan sound clean guitar untuk melodi.
Mainkan chord :
| C | C7 | F | F | C | C | G | F7 | C | G (fill in) |
Satu tanda kurung | ….. | adalah 1 bar 4/4 (4ketuk)
blues scale in E
Blues Scale E
Blues scale adalah pola nada blues yang harus dipahami oleh blueser. Sebelum melanjutkan silahkan dengarkan contoh sederhana 'blues in E' terinspirasi dari lagu SusieQ - CCR yang legendaris.
Blues scale di E
blues scale
posisi pada E los string
blues scale E Ilustrasi di samping adalah lanjutan posisi blues scale E yaitu mulai pada fret board ke III atau posisi pada chord G.
Perhatikanlah posisi masing-masing blues scale di setiap posisi fret board. Posisi ini disajikan sampai kepada kembali ke posisi E di fret 12.
NOTE:
Investasikan waktu anda pada scale ini karena semakin banyak anda latihan maka kemampuan memainkan nada blues semakin akurat. Meleset dari pola nada blues maka anda bukanlah seorang blueser. Dalam praktek mahir blues scale ini dipadukan dengan scale lain seperti dari kelompok modes misalnya mixolydian dan lain-lainnya.
Pada saat latihan dengarkan dengan baik bunyi nada-nada yang dilatih sehingga earring anda benar-benar blues dan ini sangat membantu waktu mendengarkan lagu blues untuk keperluan mencari lick-lick dari artis terkenal.
Dengarkan hanya lagu-lagu blues kalau memang sedang belajar blues karena lebih memudahkan scale blues terpatri di otak. Dan nantinya setiap nada yang anda mainkan selalu bernuansa blues. Trust Me
Blues scale adalah pola nada blues yang harus dipahami oleh blueser. Sebelum melanjutkan silahkan dengarkan contoh sederhana 'blues in E' terinspirasi dari lagu SusieQ - CCR yang legendaris.
Blues scale di E
blues scale
posisi pada E los string
blues scale E Ilustrasi di samping adalah lanjutan posisi blues scale E yaitu mulai pada fret board ke III atau posisi pada chord G.
Perhatikanlah posisi masing-masing blues scale di setiap posisi fret board. Posisi ini disajikan sampai kepada kembali ke posisi E di fret 12.
NOTE:
Investasikan waktu anda pada scale ini karena semakin banyak anda latihan maka kemampuan memainkan nada blues semakin akurat. Meleset dari pola nada blues maka anda bukanlah seorang blueser. Dalam praktek mahir blues scale ini dipadukan dengan scale lain seperti dari kelompok modes misalnya mixolydian dan lain-lainnya.
Pada saat latihan dengarkan dengan baik bunyi nada-nada yang dilatih sehingga earring anda benar-benar blues dan ini sangat membantu waktu mendengarkan lagu blues untuk keperluan mencari lick-lick dari artis terkenal.
Dengarkan hanya lagu-lagu blues kalau memang sedang belajar blues karena lebih memudahkan scale blues terpatri di otak. Dan nantinya setiap nada yang anda mainkan selalu bernuansa blues. Trust Me
Jazz basic lick/scale
jazz scales are not really different from scales in other music, it's only the way that they are used that makes the difference in sound and feel. The modes as we know and use today were formalized around 1675 and as far as I know there were not so many jazzers around back then.
You probably have all played modes before, but maybe without realizing you were playing them. Can you play a major scale? Then you know the first mode, the Ionian.
Let's have a look at the other 6.
Take for example the C major scale. The major scale contains no sharps or flats and is the first of the modes : the Ionian mode.
Another scale most beginning guitarist will know is the natural minor scale. This one is in fact the 6th mode, the Aeolian mode.
On this page we'll be exploring the modes of C major.
Let's have a look at the C major scale :
C Major Scale C D E F G A B
1 2 3 4 5 6 7
The major scale is also the first mode : the Ionian mode. The guitar scale formula for the Ionian mode is :1 2 3 4 5 6 7
Now if we start de C major the second note we get the next mode, the Dorian mode :
D Dorian Mode D E F G A B C
1 2 b3 4 5 6 b7
The guitar scale formula for the Dorian mode is :1 2 b3 4 5 6 b7
the 3rd and 7th note are a half step behind compared to the Ionian scale.
Each mode has its own unique sound. This sound depends on how the intervals are mapped across the scale.
Let's compare the Ionian and the Dorian mode note per note :
Between notes Interval for Ionian in half steps Interval for Dorian in half steps
1 - 2 C-D 2 D-E 2
2 - 3 D-E 2 E-F 1
3 - 4 E-F 1 F-G 2
4 - 5 F-G 2 G-A 2
5 - 6 G-A 2 A-B 2
6 - 7 A-B 2 B-C 1
7 - 8 B-C 1 C-D 2
Interval structure for (in half steps) :
-Ionian : 2 2 1 2 2 2 1
-Dorian : 2 1 2 2 2 1 2
So we can conclude that the notes in both scales are the same (without accidentals) and that it's the placement of the half steps that determine the kind of mode.
Now if we build a chord on the first note of the Ionian scale we get a Cmaj7 (if you don't know how to build chords then have a look at the jazz guitar chord theory tutorial) :
C E G B
1 3 5 7
If we build a chord on the first note of the Dorian scale we get a Dmin7 :
D F A C
1 b3 5 b7
Here are the 7 modes for C major, their guitar scale formulas and corresponding chord :
I Ionian 1 2 3 4 5 6 7 C D E F G A B Cmaj7
II Dorian 1 2 b3 4 5 6 b7 D E F G A B C Dm7
III Phrygian 1 b2 b3 4 5 b6 b7 E F G A B C D Em7
IV Lydian 1 2 3 #4 5 6 7 F G A B C D E Fmaj7
V Myxolydian 1 2 3 4 5 6 b7 G A B C D E F G7
VI Aeolian 1 2 b3 4 5 b6 b7 A B C D E F G Am7
VII Locrian 1 b2 b3 4 b5 b6 b7 B C D E F G A Bm7b5
You probably have all played modes before, but maybe without realizing you were playing them. Can you play a major scale? Then you know the first mode, the Ionian.
Let's have a look at the other 6.
Take for example the C major scale. The major scale contains no sharps or flats and is the first of the modes : the Ionian mode.
Another scale most beginning guitarist will know is the natural minor scale. This one is in fact the 6th mode, the Aeolian mode.
On this page we'll be exploring the modes of C major.
Let's have a look at the C major scale :
C Major Scale C D E F G A B
1 2 3 4 5 6 7
The major scale is also the first mode : the Ionian mode. The guitar scale formula for the Ionian mode is :1 2 3 4 5 6 7
Now if we start de C major the second note we get the next mode, the Dorian mode :
D Dorian Mode D E F G A B C
1 2 b3 4 5 6 b7
The guitar scale formula for the Dorian mode is :1 2 b3 4 5 6 b7
the 3rd and 7th note are a half step behind compared to the Ionian scale.
Each mode has its own unique sound. This sound depends on how the intervals are mapped across the scale.
Let's compare the Ionian and the Dorian mode note per note :
Between notes Interval for Ionian in half steps Interval for Dorian in half steps
1 - 2 C-D 2 D-E 2
2 - 3 D-E 2 E-F 1
3 - 4 E-F 1 F-G 2
4 - 5 F-G 2 G-A 2
5 - 6 G-A 2 A-B 2
6 - 7 A-B 2 B-C 1
7 - 8 B-C 1 C-D 2
Interval structure for (in half steps) :
-Ionian : 2 2 1 2 2 2 1
-Dorian : 2 1 2 2 2 1 2
So we can conclude that the notes in both scales are the same (without accidentals) and that it's the placement of the half steps that determine the kind of mode.
Now if we build a chord on the first note of the Ionian scale we get a Cmaj7 (if you don't know how to build chords then have a look at the jazz guitar chord theory tutorial) :
C E G B
1 3 5 7
If we build a chord on the first note of the Dorian scale we get a Dmin7 :
D F A C
1 b3 5 b7
Here are the 7 modes for C major, their guitar scale formulas and corresponding chord :
I Ionian 1 2 3 4 5 6 7 C D E F G A B Cmaj7
II Dorian 1 2 b3 4 5 6 b7 D E F G A B C Dm7
III Phrygian 1 b2 b3 4 5 b6 b7 E F G A B C D Em7
IV Lydian 1 2 3 #4 5 6 7 F G A B C D E Fmaj7
V Myxolydian 1 2 3 4 5 6 b7 G A B C D E F G7
VI Aeolian 1 2 b3 4 5 b6 b7 A B C D E F G Am7
VII Locrian 1 b2 b3 4 b5 b6 b7 B C D E F G A Bm7b5
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