| modeboxshapesnumbered.pdf |
This chart shows the 'boxes' or scale patterns I typically visualize across the neck for a key. Each box corresponds to a mode with the root on the sixth string. If you don't know what a mode is, it is just the notes of a Major scale, but with the root on a different key. For instance, Dorian is the major key scale if you use the second tone as the root. Mixolydian is the mode if you use the fifth tone of the major scale as the root.
In the 'CAGED' method, each box also corresponds to an open chord fingering (and it's arpeggio). For instance, the open C chord fits over the r6 Phrygian fingering (that starts on the 6th string).
I've also included the intervals to the I chord. I used roman numerals for the ii and V to impress that these numbers are where the scales start for other chords in a diatonic (major) progression.* The ii-V-I is about the most important progression in jazz, so being able to visualize the relationship of these roots are key. However, it extends to all the diatonic chords. The root of the vi chord is always on the 6th tone. You can see with the Aeolian mode (which starts on 6) that 'Aeolian' is a perfect scale to play over the vi chord. Phrygian is the best mode to play over the iii chord, etc.
I also included the Locrian and Lydian modes, although I don't visualize them so much. They are so close to the other fingerings, it is harder to distinguish which box you are in. It is good to practice all modes to see how the sound, however.
It is essential to know where the 7 is in the major scale however. It is not only a 'guide tone' of a I7 chord, but it is the root of the vii chord - always a min7b5. When you know all the intervallic relationships, you can quickly find a root based on the progression -- then position a chord and find the scalular notes or arpeggios.
*It is too unwieldy to use roman numerals throughout the chart because 'iv' and 'vi' get confusing.
In the 'CAGED' method, each box also corresponds to an open chord fingering (and it's arpeggio). For instance, the open C chord fits over the r6 Phrygian fingering (that starts on the 6th string).
I've also included the intervals to the I chord. I used roman numerals for the ii and V to impress that these numbers are where the scales start for other chords in a diatonic (major) progression.* The ii-V-I is about the most important progression in jazz, so being able to visualize the relationship of these roots are key. However, it extends to all the diatonic chords. The root of the vi chord is always on the 6th tone. You can see with the Aeolian mode (which starts on 6) that 'Aeolian' is a perfect scale to play over the vi chord. Phrygian is the best mode to play over the iii chord, etc.
I also included the Locrian and Lydian modes, although I don't visualize them so much. They are so close to the other fingerings, it is harder to distinguish which box you are in. It is good to practice all modes to see how the sound, however.
It is essential to know where the 7 is in the major scale however. It is not only a 'guide tone' of a I7 chord, but it is the root of the vii chord - always a min7b5. When you know all the intervallic relationships, you can quickly find a root based on the progression -- then position a chord and find the scalular notes or arpeggios.
*It is too unwieldy to use roman numerals throughout the chart because 'iv' and 'vi' get confusing.
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