Introduction to Diatonic Theory Fretboard Layout 3 Notes Per String Modal Flavor Pentatonic Passing Tones Introduction to Diatonic Theory This tutorial is meant to stand alone. However, if after this brief discussion, you are a bit confused about scales or modes, I might recommend that you also watch my Mode Tutorial video. Neither of these tutorials represent a complete treatment of modes, as modes and probably more specifically the application of modes in the context of modal music can be a very complex topic. However, these tutorials are designed to provide a framework for understanding the origin of modes and their application in a pure diatonic fashion. I might also recommend "Modes No More Mystery", by Frank Gambale. NOTES Notes are made up of two components, amplitude and frequencies. Amplitude is volume. That is quite easy, think amplifier. Frequency for simplicity can be thought of as a speed of vibration which causes our eardrum to vibrate and sense sound. If you noticed, I said frequencies. This is because a given note has more than one frequency. We have the fundamental note at a given frequency, as well as higher frequencies (or harmonics). These additional frequencies help to define the timber or tonal qualities of the note. This is, for example, why the exact same note played on two different instruments can has different tonal characteristics. For the purpose of this tutorial, let's forget about natural harmonics and deal with the fundamental frequency of a given note. Harmonic theory (or the harmonic series) is a very interesting topic, as it provides some explanation as two why certain intervals interact harmoniously, but for the most part this is beyond the scope of this tutorial. OCTAVES We have a note. Let us say this note is A or 440Hz. This is the fundamental frequency, or what defines the actual note as we hear it. If we double this frequency we create a note an octave higher, but it still provides the sensation of the same note. This has to do with the way in which the waveforms cause our ear to vibrate, again beyond the scope of this discussion. Now, a scale defines how we divide the notes between 440 and 880. In Western music, this range of frequencies is divided into 12 tones of equal temperament and each one of these is referred to as a semitone. In other forms of music, such as Eastern music this octave is divided further into what some people refer to as microtones, for example 24 tones. Again, I digress. CHROMATICS As I mentioned previously, an octave consists of 12 tones. These 12 tones comprise something referred to as a chromatic scale, as illustrated in the following figure (figure 1). Figure 1 Each note is a half step or semitone below or above its neighboring tone. For example, C# is a semitone above C and a semitone below D. For the purpose of this tutorial, and from this point forward, I will use the terms whole and half step. Why did not they just give each note a separate letter? Well, this is because these oddball notes did not really exist, or at least were not originally defined. Chromatic is derived from Chroma, the Greek word for color. The chromatic tones are typically accepted to be embellishments to a given scale system, as they are tones that are outside of a given scale. WESTERN MUSIC AND DIATONIC SCALES Of these chromatic tones, we have 7 that comprise the scale diatonic scale system. Diatonic, for the purpose of this tutorial, is a scales based around the church modes which forms the foundation of Western music. I felt the need to clarify, as the term diatonic has, sometimes ambiguous meaning. Just as a brief review - if we start with a major scale, for example if we start with the middle C on a piano and play the next 7 white keys, we will in essence be playing C Major or C Ionian as the piano was designed around this same diatonic scale. Figure 2 Working in reverse, I like to think of scales as a means to navigate an octave. Chromatically, as mentioned before, includes all notes in the Western scale. However, by altering intervals between notes, they can provide a different feel. Your basic Ionian (Major) scale consists of two whole steps, a half step, three whole steps and a half step. However, by altering intervals, we produce a different feeling. In fact, we can take this basic Major scale and by starting and ending at a different place, we create modes of this scale. This is often referred to as scale degrees or referenced via Roman numerals when we use it to describe a chord progression. The following chart (Figure 3) lists the modes of the Major scale. Pay attention to the order of intervals and how this changes when we start off on a different scale degree. Figure 3 Now, in actuality, this is a really not a tutorial about scale theory or modal application, etc. but rather presents, what I feel is a practical approach to structuring and playing diatonic modes on the guitar. When I first started playing, like most other rock players, I started with Pentatonic scales, but also a feel for what different scales were like, as my first real instrument was violin. In terms of organization, the violin is symmetrical in nature. All strings are equally separated by 5ths (GDAE - from low to high). It is not designed for chords, but is rather a solo instrument. This is further reinforced by the curvature of the violin bridge. It is purely a solo instrument, not meant for much more than 2 string chords or arpeggios. Likewise, as the violin is not designed for chords, there are other instruments which are typically tuned to chords, such as the banjo. Stringed instruments, in general, present an interesting dilema. The fretboard presents a situation whereby we can play a D on the low E, the same D on the A the same D on the D, etc. Furthermore, the guitar is not tuned symmetrically. So how should you arrange the notes and how should you structure scales, etc.? This tutorial addresses this issue in relation to diatonic modes. Back to Top Fretboard Layout There are many solutions and different solutions are better for different tasks. The primary issue involves how the intervals between guitar strings are not consistent. On the guitar we have 6 strings; E, A, D, G, B, E. - E and A are a perfect 4th - A and D are a perfect 4th - D and G are a perfect 4th - G and B are a Major 3rd - B and E are a perfect 4th Therefore, a pattern which works one way when played on the D and G will need to be shifted when played on the G and B. While it might be possible to employ a symmetrical tuning, this would likely present problems with chords, as there are six strings and most of us only have 4 fingers. Likewise we could tune it for chords but again this would present issues with scales and solo playing. Like it or not, it is a compromise but it is a well balanced compromise because it can be adapted for both solo playing as well as chords. We just need to understand this and develop a visualization of the instrument. The following diagram represent all the notes present in the key of F, though it can easily be transposed by shifting fret numbers, etc. This diagram also represents the format of all of the diagrams in this tutorial, from the perspective of a right handed guitarist, if he or she was to look down at the fretboard. Figure 4 HORIZONTAL ASYMMETRIC APPROACH We can take a horizontal asymmetric approach, whereby there is a concentration on structuring scales directly around chords. With this approach we would play 3 notes on the E, A and D, but only play 2 notes on the G string, namely A and Bb. We would then proceed to play 3 notes on the B and E string. This is a very common approach, and it has its merits. An immediate advantage is that it's a direct correlation to the F barre chord, F arpeggio, and F Major 7th Arpeggio, etc.. This is illustrated below (figure 5):   Figure 5 VERTICAL APPROACH While it may seem drastic, we could take an entirely vertical approach. Again, let's assume that this key is F. We see that we can run straight vertically up the neck starting with F, using the 2 whole steps, half step, 3 whole steps, half step, thus playing this scale on one string (figure 6). Figure 6 However, this would not be a very efficient approach to play a straight scale and it would probably sound quite sloppy and disjointed if we tried to play at a fast speed. However, even an approach like this has some value, as a solid vertical understanding can help us to better visualize intervals, and from a practical perspective, move patterns up and down the neck as some patterns may be easier to play in this manner, such as diatonically descending triples, as illustrated in the following example (figure 7). Figure 7   In contrast to these approaches, let's focus primarily on a different approach; based upon 3 notes per string. Here are the basic patterns (figure 8). Figure 8 As you may notice, the notes on the high string are grayed out. This is because the 2nd octave ends on the last note of the B string. In other words, if you are playing an F Ionian/Major, the last note on the B string is an F. You may also notice in the graphic, that the modes are offset. This is to illustrate that the Dorian position actually starts off on the second note of the Ionian position, etc.. In other words, if you were to play the Ionian mode, and then move your hand up two frets, and play all of the same notes within the Major scale, you would be playing the Dorian mode, as they contain the same notes. In fact, if you overlapped all of the modes, you would get the fretboard that we saw earlier with all of the notes. 3 Note Per Sting with Turnarounds is a video that illustrates a symmetric/pattern based approach towards playing up and down 3 note per string scale patterns. I use this quite frequently. For this video I employ the Ionian pattern (illustrated above in figure 8) Back to Top 3 Note Per String As discussed in the prior section, most of my playing revolves around 3 note per string scales. This is due to the symmetry in both picking approach and fretting. 3 Note Per String Visualization I find, that the more way that you can find to visualize something, the better you will understand it. So let us look at some relationships. In looking at the above positions; Why do we see the Locrian pattern begin after the Ionian? In other words, on the first two strings we play the first six notes of the Ionian mode, whereby we play 6 notes of the Locrian mode on the next two. This is illustrated below (figure 9). Figure 9 The answer is pretty simple. There are 7 notes in a diatonic scale, and we only played 6 (between 2 strings) and the locrian mode begins on the seventh note in the scale. So to summarize equal notes played per string provide a kind of symmetry, whether it is 2, 3, 4, 5 or even 1. So we know that if we are playing an Ionian scale, we need to play locrian on the next, and then finally shift up one fret (because the interval between the G and B is one fret less) and then play the aeolian pattern. Likewise, any mode that we start on, we will play the previous mode on the next 2 strings, and finally the one previous to that on the last 2 (after shifting of course). In summary, if the guitar had more strings, or 14 to be exact, and we did not have the G-B shift, we would see the following (figure 10): Figure 10   3 Note Per String Practice Patterns I find it useful to break up larger things into smaller, more digestible patterns. In fact, I often practice 6 note patterns such as these to develop speed, coordination, muscle memory. This first set of fingering patterns (figure 11) is a comprehensive list of all the unique 6 note patterns that you will encounter when traversing 2 strings, which are perfect 4ths apart, such as E–A, A–D, D-G, B-E. The second set of patterns (figure 12) are only encountered when these patters are employed between the G and B. This is due to the "Major 3rd" interval between these 2 strings. Figure 11   Figure 12 Back to Top Modal Flavor Are modes important to strict diatonic playing? Let us take a C Major (CM) scale CDEFGAB  We have the following chords:   CM (Ionian) Dm (Dorian) Em (Phrygian) FM (Lydian) GM (Mixolydian) AMin (Aeolian) B Half/Dim (Locrian)   Many people argue that when playing strictly diatonically, everything gravitates back to a tonal center of Ionian or Aeolian. They further extend this logic to argue that thinking modally is unimportant or an unnecessary over-complication or intellectualization, as you are always playing in the relative Major or Minor. Yes, I agree that there is a chordal pull back to the relative Major or minor. However, I tend to disagree with the overall assessment, but to illustrate we will start off with a basic (I,IV,V) progression to establish some relevant facts. In order to do this we need to create chords. Simple chords (triads) are based on the 1,3,5 of a given note in a scale. So C scale contains CEG, if we take D and make it the 1 note, the third note would be F and the 5th would be A. This is a simple D Minor chord. For G it is GBD (G Major). We end up with the following:   CM FM GM   All of the notes in the C Ionian scale (CDEFGAB..) are valid or legal over any of these chords, as the CM triad is composed of CEF, FM of FAC, and GM of GBD. In fact, between these three chords, we have all of the notes contained within the C Ionian, and no others. At this point there is no flaw to this idea that everything related to CM is CM and modes are not really relevant. However, once we get a little deeper, we realize that when playing over a given chord, there is a strong pull to resolution of that particular chord. I am not saying that one needs to resolve to the tonic of the given chord, but rather the 1,3,5 of the chord. We need to be aware of the chord that we are playing over, as it does not sound right if we resolve over the GM in our progression to the note of C. Thus, we cannot resolve our lead or melody over every chord in the progression to the triad of the relative Major or minor.  It may add a level of suspense or interest, but it certainly does not sound resolved. From that perspective alone, we just cannot consider the relative major or minor. We must also consider the chords composed of the triads of each mode that we play in and these are derived from the modes. To summarize, when playing over a given chord it is certainly OK to accentuate, or even resolve phrases to any notes contained within the respective Triad. For example, when playing over GM, one can certainly accentuate or resolve to the G, B or D notes. We also notice another interesting characteristic. In context of a progression based on CMajor, when playing  CM we can only resolve to CEG. However, over GMajor we can resolve to GBD or even F? If you do not believe me record the progression and try it yourself. This observation alone would seem to make it important that we not only understand the triad of the underlying chord, but also the mode that we are playing over, because there are these special notes that extend the palette of resolution. Earlier in my playing career, venture, whatever you want to call it, I came to a conclusion that it was difficult to play over the Major (or the I chord) and have it sound correct. Minor was also a challenge, but being more rock influenced, I developed a much better feel for minor (VI). However, I have developed a theory on this. Major and minor are very unforgiving because they are completely resolved. Thus, they need strong resolution because they are already at rest. The other modes, by nature of the gravitation pull back to the relative major or minor, are already unresolved and more forgiving. Each one has a special flavor note aside from the triad, which helps define the mode. So what are these flavor notes, as I call them? Every mode is essentially Major or Minor. The third note in the scale defines whether a scale is minor or Major. If the third note is 2 whole steps or 4 frets above the root it is Major, 1 and a half or 3 frets, it is minor. Simple, right? Well, Locrian is a freak, that people rarely use or tend to substitute with other things such as full-dim, etc. It is the ultimate in non-resolution (as it has and diminished 5th  which is a tri-tone above the root). Like the Ionian and Minor, there are no special flavor notes, but it still kind of fits my formula. More on this shortly. Anyway, getting back on track, the flavor note is essentially the note that differentiates the scale from its major or minor counterpart. For example, Mixolydian is identical to the Major scale, with the exception of a Dominant 7th note. Dorian is identical to the minor, with the exception of a Major 6th note… each mode (except Locrian) has one note that differentiates it from a Aeolian or Dorian. This note is what I call the flavor note, or the one which really provides mode flavor.   Finding Flavor notes OK, one could think purely from the perspective of intervals or calculate in their head the note that differentiates or one can use a tri-tone trick that I developed. I have never seen this elsewhere, so hopefully I am not taking credit for something that I didn’t develop. Anyway it works like this…. A major scale has 2 notes that are separated by a tritone (or 6 frets). In major, the notes B and F have this characteristic. You are still going to have to find the triad notes for these other modes. However, the tritone that exists in the Key of CMajor exists between the B and F, as these note are 6 frets apart. So lets look at this on paper.   Mode Triad Flavor Note Equates to... C Ionian CEG n/a n/a D Dorian DFA B B is the Major 6th which differentiates it from A Aeolian E Phrygian EGB F F is the Minor 2nd which differentiate it from A Aeolian F Lydian FAC B B is the augmented 4th which differentiates it from C Ionian G Mixolydian GBD F F is the Minor/Dom 7th which differentiates it from C Ionian A Aeolian ACE n/a n/a B Locrian BDF n/a Triad only  Back to Top   Pentatonic Passing Tones The pentatonic scale is one of the most important scales in Rock, Blues and even some Jazz. It is called Pentatonic, as it only employs 5 notes. A pentatonic minor contains the 1st, 3rd, 4th, 5th and 7th of a minor scale. The Pentatonic Major contains the 1st, 2nd, 3rd, 5th and 6th of the major scale. Pentatonic Passing Tones is a video that illustrates a modification of the basic minor pentatonic scale to add additional flavor and feel via combining it with blues (Flat 5th), major, Dorian as well as chromatic passing tones. As a note of correction: I missed the Flat 5th (Bb) on the A string when illustrating the Blues scale. One of the cool things about this particular pattern is that it is essentially 3 note per string allowing constructs such as turn-arounds. In fact, when I am playing in this manner, I often skip notes to maintain 3 note per string symmetry. Back to Top