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Personally I'd learn the 5 positions for the pentatonic, how you can link them together and also work them out for the majors and relative minors as a starting point...
There's a little video by a guy at Andertons called Peter Honore where he teaches some basics (for blues but the theory is relevant). He's a really musical player and so focuses on musicality over being too theoretical which helps makes stuff more accessible..
Troy Stetina's Fretboard Mastery is a good book on theory from a metal/hard rock guitar perspective. For general theory, Harmony and Theory published by the Musician's Institute is good. Both these books have tonnes of exercises which you might not want to get bogged down in on a first read.
If you know these two scales and can visualize them in relation to each other, you'll be on your way.
Of course knowing your intervals is always great because they compose everything, but scales are a good start.
Also, the Harmonic minor is a good idea
Max
Apart from V7-Im where is harmonic minor mainly used.. and is melodic minor more useful? In fact, out of every possible scale with associated mode, I wonder what "set of modes" is really new , interesting and practical to learn over the whole fretboard.
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The V chord's 1357 notes are the 5, M7, M2 and 4 of the tonic - so from bottom to top the M2, 4, 5 and M7. The V harmony doesn't tell us what to do with the other notes in the tonic - the 1, 3 or 6. That's melody's job. So in the harmonic minor SCALE, they remain at their default (aeolian) positions - ie, the 1 stays as the tonic, the 3 stays as minor (because we're talking about minor harmony) and the 6 stays as minor (same reason).
So in terms of the tonic minor key, the harmonic minor scale is therefore 1 M2 m3 4 5 m6 M7 8.
And in its 5th mode, ie on the V chord, it's 1 m2 M3 4 5 m6 m7 8. This is called phrygian dominant - phrygian because it has a minor 2nd, and dominant because it has the V chord's major 3rd, ie not like a piece in aeolian "should" have.
These then are the notes of the harmonic minor scale, because they fit over the proper V chord of 1 M3 5 m7, and they just have the remaining notes unaltered from the original minor tonic. The full scale is really only ever played as phrygian dominant on the V. Rarely in music is it played as harmonic minor on the i chord.
Melodic minor is for melody (tunes), where you need that 2nd note of the V chord, and, although it could be left unraised (and therefore called harmonic minor lol), it is traditionally raised so there's not too big a gap between it and the raised 3rd degree of the V chord (the M7 on the tonic).
Hence melodic minor is normally what you need to be playing if you're playing the tune over the V chord. Harmonic is what you need if you're playing the chords and therefore not playing that 2nd note on the V chord anyway.
Of course, there's nothing stopping you playing phrygian dominant as a scale too - cue Yngwie, as we've discussed before!
if you want other families of scales and their modes to check out, try persian major and minor, hungarian major and minor, neapolitan major and minor. (you've already used neapolitan major in one of your own compositions!)
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
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Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
My YouTube Channel
Get back to you later about melodic minor bit..
Do you use anything else like whole tone ? Which scales do you typically use 90% of the time?
P.s. that's funny about neopolitan major.. I did a van halen
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