Here we are taking mainly not for the 6-string guitar but for 4-string instruments that , inherit the tuning from the higher 4-strings of a 6-strong guitar either with the exact frequencies (D,G,B,E) , or only isomorphic-ally (G,C.E,A), (D,F,A,D) etc like Greek 4-double string Bouzouki, Ukulele, baritone ukulele, ukulele-charango etc (For such instrument see post 67).
Such instrument do not only give exact voicing of the 4-notes chords (no repeating notes) , but this also means that the arpeggios of the major or minor or also with 6th or 7th such chords, are identical with the chord-shape! This has the advantage that we do not need to learn scale-shapes across the fretboard, because as we shall see the scale-shape on all of the fretboard can be obtained as a simple sequence of (usually only) 3 basic chords of the scale!
Le us take the example of the diatonic scale (e.g. D major) . Let us denote the 7 notes of such a major -mode scale by I, II, III, IV, V, VI, VII, I(=VIII). For the D major-mode scale it wold be
D4, E4, F#4, G4, A4 , B4 C#5, D5
Now it is known that the chords, with roots on the notes of the scale are also denoted by latin numerals, capital if major and small if minor
I, ii, iii, IV, V, vi, vii(dim), I(=VIII)
And by substituting the minor chords with their upper or lower major relative chords we get the chord progression
I, IV, I, IV, V, IV, V, I or for the D major-mode on particular the chord progression
D4, G4, D4, G4, A4 , G4 A4, D5 (=1,4,1,4,5,4,5,1)
In the symbols for guitar chords as in post 23 that pin down the place in the fretboard and the shape of the chord, the chord progression is the next:
D->(3E)G->(5A)D->(5D)G->(5E)A->(10A)G->(8D)A->(12D)D
Notice that
D, and G or (3E)G is at the 1st neighborhood o the fretboard (see posts 5, 13)
5A)D->(5D)G->(5E)A are at the 2nd neighborhood
and (10A)G->(8D)A->(12D)D are at the 3d and 4th neighborhood (see posts 5, 13).
When improvising, by listening to the 3 chords D, G, A, the sounds of the notes of the D major scale are created in the subconscious, and then by playing single notes based on he shapes of the above sequence of chords, the full D major scale is deployed under our fingers!
It is clear that the notes of these chords do cover the scale and in fact contain no more notes than those of the scale (we always talk only for the higher 4 strings of the 6-string guitar and similar 4-string instruments, see post 67) .
So the way to play the scale, in slow soloing, would be to play the shapes of the above chords in that order, but not strumming the guitar, and only playing one note of the chord shape , and not the rest of the notes of the chord. (The rest might be used in a enrichment of the melody). This chord progression not doubt will give all the notes of the D major-mode scale.
We are saying slow soloing because obviously , the speed with which we change chord-shapes on the fretboard, is slower than the speed we may play single notes of scale. But fast soloing is not always the beautiful or required. Slow soloing is more soulful and melodic, giving the opportunity for intermediate chord sounds too.
Notice that this requires that we know all the variations of an open chord-shape as non-open chord shale across the fretboard. But this is also easy and has been discussed together with the concept of 3 basic neighborhoods of the fretboard e.g. in post 3 and post 13.
Now all other 7 modes of the diatonic scale have again as chord progression to play them a cyclic permutation of the above chord progression.
Similarly other scales . e.g. like harmonic minor, or Hungarian minor (=Harmonic double minor) have similar alternating sequence of usually 3 basic chords that create the scale-shape across the fret-board. So the above technique still applies.
Now it is known that the chords, with roots on the notes of the scale are also denoted by latin numerals, capital if major and small if minor
I, ii, iii, IV, V, vi, vii(dim), I(=VIII)
And by substituting the minor chords with their upper or lower major relative chords we get the chord progression
I, IV, I, IV, V, IV, V, I or for the D major-mode on particular the chord progression
D4, G4, D4, G4, A4 , G4 A4, D5 (=1,4,1,4,5,4,5,1)
In the symbols for guitar chords as in post 23 that pin down the place in the fretboard and the shape of the chord, the chord progression is the next:
D->(3E)G->(5A)D->(5D)G->(5E)A->(10A)G->(8D)A->(12D)D
Notice that
D, and G or (3E)G is at the 1st neighborhood o the fretboard (see posts 5, 13)
5A)D->(5D)G->(5E)A are at the 2nd neighborhood
and (10A)G->(8D)A->(12D)D are at the 3d and 4th neighborhood (see posts 5, 13).
When improvising, by listening to the 3 chords D, G, A, the sounds of the notes of the D major scale are created in the subconscious, and then by playing single notes based on he shapes of the above sequence of chords, the full D major scale is deployed under our fingers!
It is clear that the notes of these chords do cover the scale and in fact contain no more notes than those of the scale (we always talk only for the higher 4 strings of the 6-string guitar and similar 4-string instruments, see post 67) .
So the way to play the scale, in slow soloing, would be to play the shapes of the above chords in that order, but not strumming the guitar, and only playing one note of the chord shape , and not the rest of the notes of the chord. (The rest might be used in a enrichment of the melody). This chord progression not doubt will give all the notes of the D major-mode scale.
We are saying slow soloing because obviously , the speed with which we change chord-shapes on the fretboard, is slower than the speed we may play single notes of scale. But fast soloing is not always the beautiful or required. Slow soloing is more soulful and melodic, giving the opportunity for intermediate chord sounds too.
Notice that this requires that we know all the variations of an open chord-shape as non-open chord shale across the fretboard. But this is also easy and has been discussed together with the concept of 3 basic neighborhoods of the fretboard e.g. in post 3 and post 13.
Now all other 7 modes of the diatonic scale have again as chord progression to play them a cyclic permutation of the above chord progression.
Similarly other scales . e.g. like harmonic minor, or Hungarian minor (=Harmonic double minor) have similar alternating sequence of usually 3 basic chords that create the scale-shape across the fret-board. So the above technique still applies.
