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I have noticed perhaps a small typo in the book.
One of the altered fingerings don’t line up with the diatonic ones forcing you to move out of position. You can fix this by moving the third onto the sixth string however. Page 61 of the Scales & Fingerings work book. I’ll let you know if I find more.
Andrew
Hi Andrew,
This is not a typo! It is supposed to be played that way. If you play the 3rd on the 6th string you would have to play 4 notes on it when playing the scale: 1, b2, #2, and 3. This is pretty unconventional and not very practical for most players, unless of course you are Allan Holdsworth who does this. However, for bebop which relies on more of a vertical approach to improv, you’ll find that this is not practical. On the other hand, if you want to play the 3rd on the 6th string when playing the arpeggio only, that is fine! I do that myself occasionally but for the sake of consistency I didn’t want to teach 2 different fingerings in the book. Again, I suggest this in some videos when playing a Pattern 1 altered arpeggio.
Most fingerings derived from the melodic minor scale, such as the Super Locrian, sometimes require a different fretboard placement (occasionally moving out of position to avoid playing more than 3 scale notes per string) than those derived from the Ionian or major scale (mixolydian, dorian etc.). Let me know if this is clear or if you have any more questions regarding these fingerings.
Hey Richie,
That clears it up for me and thanks for your response. However in the interest of retaining position I think I am going to try 4 fingers per string. Thanks for you help and I’m loving the course.
Regards,
Andrew
Actually Richie,
You may be interested in this concept. So I took your Diatonic fingerings for the major / minor scales. Then I made harmonic minor fingerings restricting myself to your boxes, I then did the same with melodic minor and I found something interesting. First and foremost it allows all the fingerings to exist with each other without moving position. Secondly there are no 4 notes per string but perhaps even more interestingly, I found that scales became compatible even if they were completely unrelated. For example resolving a lydian dominant to an aeolian or a super locrian to a dorian always allows you to stay in position.
Here are the fingerings, let me know what you think,
Andrew
Fixed a few errors
Actually I have come to realise that you do have to shift all the shapes down a half step to fit the Altered mould, resulting in as you say, 4 notes per string on some strings.
Hi Andrew,
I’m not sure I understand what you’re trying to convey. Are all the fingerings starting on the root on 6th string like Pattern 1? When you say “diatonic”, are they different modes of 1 scale (eg. ionian,dorian,phrygian,etc) or the 7 fingerings for the same scale? If you could label them in terms of what’s going by displaying the intervals (eg. 1,3,5,7), it would be easier to understand the concept and how they relate to each other. Otherwise there is lots of room for misinterpretation.
Thanks!Richie
Hey Richie,
Yes they are, I was thinking that you could potentially contain the altered scale within the same framework using the melodic minor fingerings. However I now realise you need to shift the whole position up a half step so it doesn’t really work.
That’s a whole lot better, although I’m still wondering…Are these to be played all in the same position? If that were the case they would be in different keys…
If they are to be played in the same key horizontally throughout the entire fretboard, you are simply recreating what is already in the course and scales book, only that you are including unresolved “non chord tones” (2,4,6) at the beginning and end of some scales on the 6th and 1st strings. Also, the 4th fingering here (pattern 5?) won’t work too well when trying to play the arpeggio with the root on the 2nd string…
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