Chords for 3 Best Shred Scales - Use These To Sound AMAZING!

What's up YouTube community Bernth here, welcome back to another video lesson!
In
this one we will check out three amazing and exotic sounding scales that will
immediately spice up your sound and playing
Your biggest takeaway from this lesson will be understanding that all those
scales are closely connected and we only have to adjust
minor details to get from one scale to the next so after watching today's
lesson until the end you will be able to play each one of those exotic scales in
one position on the fretboard, you will know about the closely connected
relationship those scales are in and which notes to accent to really bring
out the sound of each one.
So I hope you get a lot of value concerning your music
theory and scale knowledge out of this video, let's start right away!
[F] _
_ _ _ [Bb] I _ _ _
_ _ [Dm] _ _ _ _ _ _
_ _ _ _ [N] _ _ know that learning about exotic scales can be a bit intimidating at first
you might feel like it's a lot of work already to learn the natural major and
minor scale all across the neck, to work with the pentatonic scale and to also
understand the modes correctly but once again we don't have to learn anything
completely new with this lesson, most of this is based on a foundation you might
be familiar with already.
So here are the three scales we will learn today, we will
limit ourselves to one scale box so we can study the connection a bit better
and I make sure to highlight the root notes in white and the characteristic
and most important notes of the scale [A] in red.
_ [B] _ [C] _ [D] _ _
[E] _ [Fm] _ _ [F] _ [B] _ [C] _ [E] _ _
_ [Fm] _ _ [B] _ _ [Fm] _ _ _
_ [Dm] _ _ [Fm] _ _ [E] _ _ _
[C] _ [B] _ [A] _ [Fm] _ _ [E] _ _ [D] _
[C] _ [B] _ [A] _ _ _ [Gb] _ _ [E] _
_ [Fm] _ _ [A] _ [B] _ [C] _ [D] _ [E] _
[Fm] _ _ _ [F] _ _ _ _ _
_ _ _ _ [E] _ _ _ _
[C] _ _ [Am] _ [Bb] _ _ [E] _ [D] _ _
_ [B] _ [A] _ [Ab] _ [F] _ [E] _ _ _
_ [A] Make _ [B] _ [C] _ [Eb] _ [E] _
[Fm] _ _ _ [A] _ [B] _ [Cm] _ _ [E] _
[Fm] _ _ _ [F] _ _ _ [Ab] _ _
_ [B] _ _ [Fm] _ _ [E] _ [Cm] _ _
_ [B] _ [A] _ [Fm] _ _ [E] _ [Eb] _ _
[C] _ [B] _ [A] _ _ _ _ _ _
sure to download the [E] tabs, guitar pro files and additional sheets for this
lesson on patreon.com slash bernd.
My patrons can download these incredibly
helpful files for every single lesson that I published on YouTube so far and
new members of my shred guitar community on patreon get access to the entire
archives immediately.
So let's discuss each scale in detail right now [Am] and
slowly uncover the music theory mysteries that each one is hiding.
You
might be familiar with the first one already, _ _
_ _ _ _ _ _ _ _
_ _ _ [Db] that of course is the sound of
harmonic minor.
The absolute fastest and easiest way of understanding the scale
and playing it all across the neck in the matter of minutes is comparing it to
the natural minor scale.
As you can see on screen we only have to change one
note right here that's the only difference we have to raise G to G sharp
so when I play the A natural [A] minor scale starting from the fifth fret of [C] the low
E string just up until the octave [A] I'm playing A, [B] B, [C] C, [D] D, [E] E, [F] F, [G] [A] G and here I'm at
the octave _ [Am] at A once again [N]
and I only have to change one note to get to
harmonic minor so without ever looking at a harmonic minor scale diagram [A] or any
graphics I can just play A, [B] B, [C] C, _
[D] D, [E] E, [F] F, _ nothing changed until this point but now
I have to raise G [G] to G sharp so instead of playing G on the fifth fret of the D
string [Ab] I'm playing G sharp on the sixth fret so I'm [A] playing A, [B]
B, [C] C, [D] D, [E] E, [F]
F, [Ab] _ G sharp
[A] _ and A.
[F] _ _ [Fm] _ [A] _ _ [Gbm] _ _
[N] There are a couple of amazing advantages when you're studying scales
that way.
First of all you know exactly which note you have to accent to get
that cool harmonic minor sound.
When I'm only looking at a scale diagram without
all that theory information [F] I might just be playing [Am] _ _
_ something _ _ _ [N] _
like that
where I'm technically playing and thinking in the harmonic minor scale but
I'm not including the characteristic interval so I'm actually just playing
the A natural minor scale so to really get that cool dark and exotic sound I
have to include that raised seventh scale degree I have to play G sharp _ [F] _ _ [A] _ and _
_ of course the [N] second really big advantage is that I don't have to learn
a completely new scale all across the neck I only have to change one minor
detail in the A natural minor scale.
So at this point my biggest recommendation
for you is to learn the natural minor and major scale all across the neck and
you will see that you can form a lot of different and more exciting scales out
of that fundamental knowledge and when you practice the harmonic minor scale
also make sure not to just practice the A harmonic minor scale also move it to
different positions.
For [E] example when I want the E harmonic minor scale I can
just think in the E minor scale starting from the seventh fret on the A string
for [G] example _ _
_ [E] _ _ _ [Em] once again I just have to change the seventh note of the scale I
have to raise D _
[C] _ [G] _ [Eb] to _ D sharp [A] to get E harmonic [Em] minor.
_ _ [Cm] _ [E] _
_ _ _ _ Now let's move to the
next really interesting scale Phrygian dominant also often referred to as
Spanish Phrygian or Phrygian major. _ _ _ _
_ _ _ _ _ _ You can hear this one quite often in that
context _ which _ _ _ [F] _ _ _ [E] _ _
_ _ [Em] _ _ _ [E] _ _ _
_ [G] _ _ _ [F] _ _ _ [E] _
_ _ _ _ _ is [N] always a pretty cool sound and I think the name Spanish
Phrygian makes a lot more sense now.
There are two ways we can think of this
scale and I want you to remember both.
The first one will come in very handy
for you if you already spent some time working on the modes.
We can think of E
Phrygian dominant or E Phrygian major as the E Phrygian scale with a major third
instead [E] of a minor third.
So instead of playing E [F] F [G]
G [A] A _ [B] B [C] C [D] D [E] E _ _ _ I'm playing E [Fm] F
_ [Ab] _
G sharp and there we already have that characteristic [E] sound [Fm] _
[E] so _ _ _ E [F]
F [Ab] G sharp and
[A] then [Bm] A B [C]
[D] C D [E] _ _ _ up to E again so once again there's only one note that is changing
right here [N] we are changing the minor third of Phrygian to a major third and
the second way we can easily find this scale on the fretboard is connecting it
to harmonic minor.
If you paid very close attention to detail during the
demonstration of each scale you might have noticed that A harmonic minor and
E Phrygian dominant feature the exact same notes.
The only real difference here
is the starting point and the root note of the scale so to say.
So when I'm
playing the [Fm] A harmonic minor [A] scale and I'm starting [E] from E _ _ _ [Fm] [Am] I'm _ _ _ _ actually [N] just
playing the Phrygian dominant scale.
To put this in the correct words in music
theory we would say that we are playing the fifth mode of harmonic minor so E
Phrygian dominant is the fifth mode of A harmonic minor.
To keep it more simple
again I could actually just play the A harmonic minor scale all across the
neck to an E Phrygian dominant backing track and I would actually play the E
Phrygian dominant scale.
So definitely make sure to use this connection to your
advantage but don't rely on it completely.
If you're only thinking in
the A harmonic minor scale while you're actually playing a solo over a track in
E Phrygian dominant it might end up sounding a little bit weird.
Technically
we are playing the exact same notes but it always sounds a bit better to have a
good understanding of the scale that you are actually playing in and not just
only thinking those parallels all the time.
And the last one for today is the
most exotic one Hungarian minor.
[Am] _ _ [A] _ _ _
[Am] For _ _ _ _ _ _ this one [Abm] we're using the A harmonic minor
scale as our foundation and we change one more note in there.
So instead of
[D] just raising the [A] seventh scale degree, [B] _ [D] _ _ [E] _ [Fm] _ [Ab] _
turning G into G sharp, _ _ _ _ [D] _
_ [Eb] _ _ we're [Cm] raising the
fourth scale degree as well so [A] we get that really cool _ _ dissonance raised fourth
interval.
So we're _
[B] [Cm] playing_
_ [E] _ _ [Fm] _ _ [A] _
_ [B] _ _ _ [A] _ [Ab] _ [A] _ _
_ _ [Abm] so I tend to think of Hungarian minor as the even
darker more mysterious and exotic brother or cousin of harmonic [Am] minor.
It's
a very similar sound but that raised fourth really adds some cool dissonance
to it. _ _ _ _
_ _ _ [A] _ _ _ _ _
[Abm] So when you practice [G] these scales please don't just memorize where to put
your fingers in one position, [N] also make sure to study and really understand
their relationship and all the notes they are sharing.
That will save you a
lot of time in the long run and after that you can apply the octave trick we
looked at recently on here so you can play them all across the neck in a
couple of days.
Make sure to download all the additional files for this lesson on
patreon.com slash ferns, they will make it much easier to understand all of this
in detail.
In the end make sure to subscribe to join this guitar community
today and to never miss another free guitar lesson again, leave a like if you
enjoyed this one and a comment to tell [E] us which of those scales is your
personal favorite.
[G] I will hopefully see you again in the next video lesson, all
the best and have fun practicing until then!
[C] _ _ _ _ _ _ _ _ _ [D] _ _ _ _
_ [G] _ _ [Gm] _ _ _ [C] _ _
_ _ _ _ _ _ _ _
[G] _ _ [C] _ _ _ _ _ _