Moving Scale Pattern 51
When we move scale pattern 51 up one fret from the A heel, what were opens are now 1 frets.
For the key of A Major [heel, the lowest it can go], we could call this pattern 50, since we don’t have to fret the nut. And playing it in P0 (index on the nut) would show us the movable fingering.
This pattern, along with 61, are naturally 3 tones per string. The A & E scale forms are the only 2 forms which are solo heels. When we move A up one fret, it is B♭, which is also an origin [1 of the 7 heels]. And when we move E Major up one fret, it is F, which is also one of the 7 heels.
+1 = B♭ Major
Here’s the B♭ Major scale starting in P1. It’s the A scale form moved up one fret. We’ll stick with 3 tones per string, but keep our alpha-tone order (start on lowest key tone – B♭ in this instance, play to highest, then lowest, and back to the starting tone).
The scale begins in P1 (extending for 3 & 5 frets). We will shift to P2 for the 3rd string, and P3 for 2 & 1 strings.
Play the scale, as shown in the tab. This scale form can be played in this manner, in every position, and thus every key. 12 for 1 = movable to every position → 12 Major scales.
B♭ is also one of the 7 Majors heels. If we were to play it in P1 only, this is scale pattern 52, which we will cover later in this session block.
B flat is the “opposite” of B Major. B Major has 5 sharps (F♯, C♯, G♯, D♯, A♯). In B♭, the F, C, G, D, & A are naturals. Both of the flats in B♭ Major (B♭ & E♭) are the only naturals in the key of B Major. Opposites!
3 Tones Per String for Any Order
Since the lowest tone [in this scale, the F] is the 5th degree of the scale, this pattern is sometimes referred to as Mixolydian [see Modes].
Scale Names by Position
When we move this shape to these positions…the key is…
- First, we train with the scale [what we call ‘alpha-tone order’]. This means we play it from lowest to highest tone, then highest to lowest, applying different technical, mental, & musical considerations. At base level, we play everything 8ths notes around 90-100 to the metronome. To get solid with different rhythms, we can choose a new rhythm to train, for new scales we learn. See “List of Choices for Training” below for more options for training.
- Then, we improvise/jam with the tonal material. This means that we tinker around melodically with the tones.
- We also think in terms of building chords. Each tone of a scale can be a root of a chord. Chords can be played as blocks &/or arpeggios. Once we have working versions, we can improvise chord progressions as well. This provides a solid process basis for songwriting.
- We can also include double & triple stops [2 tone and 3 tone chords which may or may not be triads].
- For a heptatonic scale which is on a single string, the chords built in thirds would have to be played as melodic arpeggios. Here’s a session on this.
Throughout the path, these points guide our explorations. Our job is to apply new devices to training, jamming, & chord building. We turn the gem, do something new, share it.