GUITAR IMPROVISATION REVIEW

Chromatic scales provide a great connecting links between scales and licks, played at different positions on the fingerboard. They may also be used to connect arpeggios and large interval skips.

Learn to recognize octaves, A to A as an example. Remember, all scales are played between octaves.

The Diatonic Scale is the Mother Scale of improvisation. You must be able to create diatonic scales from scratch, to be able to locate the Key note, theTonic, and walk the step/half-step pattern of the diatonic scale either in a linear-straight-line movement, or by using a zig-zag movement across the neck, creating the proper step pattern of a diatonic scale in any given key.
With just a little practice, you will be able to instrinctively walk the fretboard, correctly playing all the notes of any given key. And as you will see, by memorizing the eight-step numbers you will be able to play all the scales used in the art of improvisation.

It is extremely important for you to develop the ability to look at key signatures, the placement and number of sharps or flats and we know what key in which you are to play.
The key signature sets the key, the scale. The scale determines the chords and generally provides all the tools required in order to play solos and riffs.

READING KEY SIGNATURES

A piece of music is written in a particular key which defines the pitch of the scale in which the music is written. We indicate the key by a key signature. The purpose of the key signature is to indicate the sharps or flats that belong in each individual scale. It eases the eye by avoiding the placing of sharps or flats against particular notes every time they occur in the arrangement. we write the key signature simply by placing the appropriate number of sharps or flats on the music staff after the clef sign and before the time signature. They effect all designated notes appearing in the arrangement.

As previously explained, key signatures are used to establish keys and to indicate what notes must be raised or lowered in order to maintain the step, half-step pattern that establishes the major diatonic scale.

The key of C Major is the simplest of our scales. Commencing on the note C, the diatonic step, half step pattern produces a scale without sharps or flats. The method by which the placement of accidentals occurs follows a very simplistic theme and is called the Circle of Fifths.

The Circle of Fifths is a visual device that shows the relationship between the Tonic, and the sub-dominant and dominant notes within the diatonic scale. It presents in logical order the addition of required accidentals as keys of different pitch are created. The Circle of Fifths is based upon two concepts.

Starting with the key of C, sharp keys are created by counting up an interval of a fifth (CDEFG) The key is G Major. The note G is the fifth note in the C scale. In order to maintain the proper step, half-step pattern, the seventh note of the new scale G, has been raised a half-step creating the sharp note in the G scale.

Starting with the key of C, flat keys are created by counting up an interval of a fourth (CDEF). The new key is F Major. The note F is the fourth note in the C scale. In order to maintain the proper step, half-step pattern, the seventh note has been lowered a half step, creating one flat in the F scale.

THE SCALE IN THEORETICAL FORM

Each Diatonic Scale will have a different group of notes and a different arrangement and number of sharps or flats.  The C Major Scale C D EF G A BC, we do not have any sharps or flats, called accidentals.  the C diatonic scale is called the natural scale.

Each note of the scale is called a degree, and may be indicted by Arabic Numerals: 1 2 3 4 5 6 7 8.  Each degree may also be indicted by Roman Numerals.  The usage of Roman Numerals is common in chord theory studies.  A capital Roman number indicates major chords.  Small letters (i i) represents minor chords.

The Do Re Mi system of identifying scale degrees was developed as an educational aid in teaching vocalists to sing notes on pitch, Do, being the first note of a diatonic scale, the Tonic note.

The correct theoretcal name for each degree of the scale (Tonic, super Tonic, Mediant, Subdominant, dominat, submediant, Leading tone, Tonic, is commonly used in chord theory studies.

An interval is the distance between two tones.

MAJOR DIATONIC SCALE

Most modern music is not written with chromatic scales, buth with a more manageble, pleasant sounding, eight note scale called a Diatonic Scale.  The Diantonic Major Scale with its familiar DO-RE-MI-FA-SO-LA-TI-DO sound, Illustration Three, is the scale used to create the vast majority or the music guitarists encounter daily.  It is from the Diatonic Major Scale that the minor, the pentatonic, and our modal system of scales originate.  To understand the art of improvisation, we must therefore fully understand the step pattern, the degree name and number, of the diatonic scale and be able to play scales in five patterns on the fingerboard.

The Major Diatonic Scale is a predetermined pattern of eight notes arranged in five whole steps and two half steps.  A half-step is the distance of one fret on the guitar: a whole step is the distance of two frets.  A Major Diatonic Scale is a succession of tones arranged in a fixed step, half-step pattern.  The distance between notes remains constant and the interval between notes in fixed and will not change even if the music is played in another key.  We recognize a sone and can hum the melody, regardless of the key in which it is performed, thus making it possible to transpose a piece of music to different keys.

A diatonic scale may be built commencing on any of the twelve notes of the chromatic scale.  We have twelve major scales called keys.  The sound of the Major Diatonic Scale is due to the placement of the half-steps between the 3rd and 4th notes and between the 7th and 8th notes.  The resulting two-tone, interval between the 1st and 3rd notes create the scales major characteristics.

THE GUITAR FRETBOARD

The six strings of the guitar make up six chromatic scales.  Each scale starts on the note in the chromatic scale upon which the which the guitar string is tuned and continues up the neck, ascending in pitch until the tone is repeated again at the12th fret.  Twelve frets plus the open string tone equals one octave.

It is important understand the tonal relationship of chromatic scale notes, for the chromatic scale includes every pitch within an octave.  It is upon the chromatic scale we build the more simplistic scales used in establishing our musical keys: the Diatonic Major and Minor Scales.  Remember:  The chromatic scale simply represents, in alphabetical order, our interval system of notes.

It is important to memorize the fretboard.  It can be a formidable task.  However, if you start by learning the names of the open strings, the educational process can be greatly simplified by visualizing a chromatic scale in your head.

TYPES OF SCALES

All music is based on the proven scientific fact that the notes we use to create music have fixed rates of vibration which are mathematically related to one another. Each note has a pitch which we can produce vocally or with a muscial instrument. These notes, when played in fixed patterns, are called scales.

When we have two notes of the same name,, but one of different pitch, one written higher than the other and vice versa, they are said to be an octave apart. It is important to realize that an octave does not consist of 13 chord tones, but is the 13th note above the fret of a series of 12 consecutive notes. We will first look at the Chromatic scale:

The interval sequence of notes upon which all scales are built is called a Chromatic Scale. It is one octave divided into 12 tones, called half steps.

TYPES OF INTERVALS

When two tones of different pitches are played in succession , it is called a Melodic Interval. When two tones are played together, it is called a Harmonic Interval.

Unison Interval – two notes of the same letter – two notes of the same pitch.

Perfect Interval – The Unison, fourth, fifth, and octave are called Perfect intervals because they remain constant from key to key.

Minor Intervals – Lowering the upper tone, one half – step or raising the lower tone a half-step. The second, third, sixth and seventh intervals may be played as Minor Intervals.

Diminished Intervals – The diminished interval is obtained by bringing a Perfect interval or a Minor interal one half-step closer.

Augmented Intervals – The interval between two tones is expanded. Raising the upper note one half-step, or lowering the lower tone one half-step.

Tritone Interval – The interval between the fourth and fifth.