Chords for Marty Friedman guitar lesson (scales)
Tempo:
79.075 bpm
Chords used:
A
E
Bb
D
Gb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
A lot of guys get caught up with the fact that they think they've got to learn these
certain scales and be able to play them correctly and these certain scales work only in particular
situations and this and that.
I never did that and I don't really suggest that it's a great way to do things because
that's just going to limit you.
The way I kind of developed my own quote unquote scales is I kind of made them up and you can
make them up yourself.
The way I came up with this one scale which got some name, you know, harmonic minor or
something like that, I just heard a chord and I played notes so I came up with something
[A] like this over like an A chord.
I kind of just took one note [N] at a time and said, wow, this note sounds [A] cool here.
I tried it like this.
[N] No, I didn't like the way that sounded.
I keep eliminating notes until I got it into a form [A] that I liked.
Okay, [N] building on these patterns that you're going to be practicing, you can use them,
you know, in your scale positions that you've made up or you can use them in any kind of
positions and cram them together in a way that's going to make you sound like you're
playing a long flowing run when actually you know that this long flowing run is like a
combination of a bunch of patterns stuck together and if the patterns aren't exactly the same,
then it's going to sound a little bit more interesting and more flowing.
If it's all the same, it's going to sound like, it's going to sound really obvious to
the listener what you're doing.
Like if you say, if say you do a straight triplet run like say.
[C]
[Em] [Bbm] [A] It just sounds [Bb] straight down.
So that's cool if that's the desired effect but what you can do is take a bunch of patterns
and stick them together and go from one place to the other.
You know, we started here and wound up there.
So let's find another way to go down there.
Let's play a whole bunch of different patterns on the strings.
Slowly something like.
[A]
[E] [A]
So each one of those little sections could be practiced separately and say you [E] do this one separately.
[Em] Like a little five pattern and then you could say, okay I'm going to do this five pattern
for this little position here and then when I want to cover the next two strings, you
could [D] go, that'd be like a seven pattern.
[Bb] [A] So we'll go from [Gm] the five to the seven pattern.
[A]
So going down [E] it would sound like this.
[A] Let's find another cool way to [G] get the rest of the way down the scale.
[Bb] So we've done this.
[A] [Dm] [A]
So we [E] could do like some quick triplets.
[Bbm] [A] What [F]
[Gm] we have all together would be something like this.
[A]
[Gb] So it's a little bit more interesting to break it up sometimes, you know, than just do a
scale pattern all the way down.
You want to be able to have the option to do both though.
So [N] the first option was practice the long form thing, a big long [A] scale exercise.
[E] Second one is have a whole bunch of little patterns [Bb] and practice them separately so you're
confident with each one.
[D] [Gb] [D] [A]
You can [N] like break it up in a way where you don't have to do just one of each.
You can do one and one, two of the other, three of one, [Gb] this and that and [E] you can make
it [D] [Bb] [A]
[N] to get from one place to the other.
So that's a little bit more interesting and that's kind of how long runs are.
I mean whether they're consciously thought up or not, the long runs are
certain scales and be able to play them correctly and these certain scales work only in particular
situations and this and that.
I never did that and I don't really suggest that it's a great way to do things because
that's just going to limit you.
The way I kind of developed my own quote unquote scales is I kind of made them up and you can
make them up yourself.
The way I came up with this one scale which got some name, you know, harmonic minor or
something like that, I just heard a chord and I played notes so I came up with something
[A] like this over like an A chord.
I kind of just took one note [N] at a time and said, wow, this note sounds [A] cool here.
I tried it like this.
[N] No, I didn't like the way that sounded.
I keep eliminating notes until I got it into a form [A] that I liked.
Okay, [N] building on these patterns that you're going to be practicing, you can use them,
you know, in your scale positions that you've made up or you can use them in any kind of
positions and cram them together in a way that's going to make you sound like you're
playing a long flowing run when actually you know that this long flowing run is like a
combination of a bunch of patterns stuck together and if the patterns aren't exactly the same,
then it's going to sound a little bit more interesting and more flowing.
If it's all the same, it's going to sound like, it's going to sound really obvious to
the listener what you're doing.
Like if you say, if say you do a straight triplet run like say.
[C]
[Em] [Bbm] [A] It just sounds [Bb] straight down.
So that's cool if that's the desired effect but what you can do is take a bunch of patterns
and stick them together and go from one place to the other.
You know, we started here and wound up there.
So let's find another way to go down there.
Let's play a whole bunch of different patterns on the strings.
Slowly something like.
[A]
[E] [A]
So each one of those little sections could be practiced separately and say you [E] do this one separately.
[Em] Like a little five pattern and then you could say, okay I'm going to do this five pattern
for this little position here and then when I want to cover the next two strings, you
could [D] go, that'd be like a seven pattern.
[Bb] [A] So we'll go from [Gm] the five to the seven pattern.
[A]
So going down [E] it would sound like this.
[A] Let's find another cool way to [G] get the rest of the way down the scale.
[Bb] So we've done this.
[A] [Dm] [A]
So we [E] could do like some quick triplets.
[Bbm] [A] What [F]
[Gm] we have all together would be something like this.
[A]
[Gb] So it's a little bit more interesting to break it up sometimes, you know, than just do a
scale pattern all the way down.
You want to be able to have the option to do both though.
So [N] the first option was practice the long form thing, a big long [A] scale exercise.
[E] Second one is have a whole bunch of little patterns [Bb] and practice them separately so you're
confident with each one.
[D] [Gb] [D] [A]
You can [N] like break it up in a way where you don't have to do just one of each.
You can do one and one, two of the other, three of one, [Gb] this and that and [E] you can make
it [D] [Bb] [A]
[N] to get from one place to the other.
So that's a little bit more interesting and that's kind of how long runs are.
I mean whether they're consciously thought up or not, the long runs are
Key:
A
E
Bb
D
Gb
A
E
Bb
_ _ A lot of guys get caught up with the fact that they think they've got to learn these
certain scales and be able to play them correctly and these certain scales work only in particular
situations and this and that.
I never did that and I don't really suggest that it's a great way to do things because
that's just going to limit you.
The way I kind of developed my own quote unquote scales is I kind of made them up and you can
make them up yourself.
The way I came up with this one scale which got some name, you know, harmonic minor or
something like that, I just heard a chord and I played notes so I came up with something
[A] like this over like an A chord. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ I kind of just took one note [N] at a time and said, wow, this note sounds [A] cool here.
I tried it like this. _ _ _ _ _
[N] No, I didn't like the way that sounded.
I keep eliminating notes until I got it into a form [A] that I liked. _ _ _ _ _ _ _
_ Okay, [N] building on these patterns that you're going to be practicing, you can use them,
you know, in your scale positions that you've made up or you can use them in any kind of
positions and cram them together in a way that's going to make you sound like you're
playing a long flowing run when actually you know that this long flowing run is like a
combination of a bunch of patterns stuck together and if the patterns aren't exactly the same,
then it's going to sound a little bit more interesting and more flowing.
If it's all the same, it's going to sound like, it's going to sound really obvious to
the listener what you're doing.
Like if you say, if say you do a straight triplet run like say.
_ _ [C] _ _
[Em] _ [Bbm] _ [A] _ It just sounds [Bb] straight down.
So that's cool if that's the desired effect but what you can do is take a bunch of patterns
and stick them together and go from one place to the other.
You know, we started here and wound up there.
So let's find another way to go down there.
Let's play a whole bunch of different patterns on the strings.
Slowly something like.
[A] _ _
_ _ _ [E] _ _ [A] _ _
So each one of those little sections could be practiced separately and say you [E] do this one separately.
_ _ [Em] _ Like a little five pattern and then you could say, okay I'm going to do this five pattern
for this little position here and then when I want to cover the next two strings, you
could [D] go, _ _ _ _ _ that'd be like a seven pattern.
[Bb] _ [A] So we'll go from [Gm] the five to the seven pattern.
[A] _
So going down [E] it would sound like this.
_ _ [A] Let's find another cool way to [G] get the rest of the way down the scale.
[Bb] So we've done this.
[A] _ [Dm] _ _ [A] _
So we [E] could do like some quick triplets.
[Bbm] _ [A] What [F]
[Gm] we have all together would be something like this.
[A] _ _ _ _ _
[Gb] So it's a little bit more interesting to break it up sometimes, you know, than just do a
scale pattern all the way down.
You want to be able to have the option to do both though.
So [N] the first option was practice the long form thing, a big long [A] scale exercise. _ _
_ _ _ _ [E] Second one is have a whole bunch of little patterns [Bb] and practice them separately so you're
confident with each one. _ _ _
[D] _ [Gb] _ _ [D] _ [A] _ _ _ _
You can [N] like break it up in a way where you don't have to do just one of each.
You can do one and one, two of the other, three of one, [Gb] this and that and [E] you can make
it _ _ [D] _ [Bb] _ [A] _
[N] _ to get from one place to the other.
So that's a little bit more interesting and that's kind of how long runs are.
I mean whether they're consciously thought up or not, the long runs are
certain scales and be able to play them correctly and these certain scales work only in particular
situations and this and that.
I never did that and I don't really suggest that it's a great way to do things because
that's just going to limit you.
The way I kind of developed my own quote unquote scales is I kind of made them up and you can
make them up yourself.
The way I came up with this one scale which got some name, you know, harmonic minor or
something like that, I just heard a chord and I played notes so I came up with something
[A] like this over like an A chord. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ I kind of just took one note [N] at a time and said, wow, this note sounds [A] cool here.
I tried it like this. _ _ _ _ _
[N] No, I didn't like the way that sounded.
I keep eliminating notes until I got it into a form [A] that I liked. _ _ _ _ _ _ _
_ Okay, [N] building on these patterns that you're going to be practicing, you can use them,
you know, in your scale positions that you've made up or you can use them in any kind of
positions and cram them together in a way that's going to make you sound like you're
playing a long flowing run when actually you know that this long flowing run is like a
combination of a bunch of patterns stuck together and if the patterns aren't exactly the same,
then it's going to sound a little bit more interesting and more flowing.
If it's all the same, it's going to sound like, it's going to sound really obvious to
the listener what you're doing.
Like if you say, if say you do a straight triplet run like say.
_ _ [C] _ _
[Em] _ [Bbm] _ [A] _ It just sounds [Bb] straight down.
So that's cool if that's the desired effect but what you can do is take a bunch of patterns
and stick them together and go from one place to the other.
You know, we started here and wound up there.
So let's find another way to go down there.
Let's play a whole bunch of different patterns on the strings.
Slowly something like.
[A] _ _
_ _ _ [E] _ _ [A] _ _
So each one of those little sections could be practiced separately and say you [E] do this one separately.
_ _ [Em] _ Like a little five pattern and then you could say, okay I'm going to do this five pattern
for this little position here and then when I want to cover the next two strings, you
could [D] go, _ _ _ _ _ that'd be like a seven pattern.
[Bb] _ [A] So we'll go from [Gm] the five to the seven pattern.
[A] _
So going down [E] it would sound like this.
_ _ [A] Let's find another cool way to [G] get the rest of the way down the scale.
[Bb] So we've done this.
[A] _ [Dm] _ _ [A] _
So we [E] could do like some quick triplets.
[Bbm] _ [A] What [F]
[Gm] we have all together would be something like this.
[A] _ _ _ _ _
[Gb] So it's a little bit more interesting to break it up sometimes, you know, than just do a
scale pattern all the way down.
You want to be able to have the option to do both though.
So [N] the first option was practice the long form thing, a big long [A] scale exercise. _ _
_ _ _ _ [E] Second one is have a whole bunch of little patterns [Bb] and practice them separately so you're
confident with each one. _ _ _
[D] _ [Gb] _ _ [D] _ [A] _ _ _ _
You can [N] like break it up in a way where you don't have to do just one of each.
You can do one and one, two of the other, three of one, [Gb] this and that and [E] you can make
it _ _ [D] _ [Bb] _ [A] _
[N] _ to get from one place to the other.
So that's a little bit more interesting and that's kind of how long runs are.
I mean whether they're consciously thought up or not, the long runs are