Part IV: Symmetrical and Exotic Scales

Chromatic

The chromatic scale simply uses every half step. So it has twelve tones per octave. It is rarely used in its entirety. Rather, small portions of the scale may be used within another tonality to “smooth out” a line and add some passing chromatic interest.

Chromatic scale, positional (all tonalities)

Since all tones are equidistant, there is no structure that the ear can “latch on” to and regard as the root. We say it is an atonal scale. Any note can be made to be the root, so there is really only one chromatic scale. (Or, to say it another way, every chromatic scale is a mode of every other chromatic scale.) The same “positional” pattern, then, may be played at any fret. The only difference is when open strings are involved. Below, it is shown starting on the low E.

Here it is played from A to A, in fifth/fourth position. Slide either your first or fourth finger to play five notes per string.

Chromatic scale, up a single string

Below, the chromatic scale is played from A to A, up and down on a single string. Use the fingering 0–1–2–3–4, then shift up to fifth position and use 1–2–3–4, then shift up again to ninth position for another 1–2–3–4. Reverse the sequence to come back down.

Whole Tone

The whole tone scale is another atonal scale with equidistant tones. This time, each note is a whole step apart, and there are six tones per octave. It gives an odd sort of “lost” quality. Below, the notes, tones, and intervallic structure are shown based on E.

Whole tone scale, positional

Again, any note can be made to be the root since all tones are equidistant. Therefore, there are only two different whole tone scales—one starting on any given note and a another one starting a half step higher (or lower). Below is the positional pattern beginning on G at the third fret. Notice how the pattern can be moved up two frets at a time and it is still the same scale, using exactly the same pattern.

Whole tone scale, three notes per string

The three-note-per string whole-tone pattern is shown below. It may also be shifted up two frets at a time without changing the pattern or tonality. Use fingering 1–2–4 on each string.

Diminished

The diminished scale comes in two varieties: the whole-half and half-whole. Both are atonal, with every second note spelling out a diminished 7th arpeggio.

Whole-half

The whole-half scale is a sequence of repeating whole and half steps. The notes, tones, and intervallic structure are shown below on E.

Below are positional and diagonal shapes for the G whole-half diminished scale. Similar to the idea in the whole tone scale, each can be shifted in increments of three frets without altering the pattern or tonality. Therefore, these effectively cover the entire neck.

Half-whole

The half-whole scale simply reverses the pattern of half and whole steps. The notes, tones, and intervallic structure are shown below on E. (Every second note still spells the E diminished 7th arpeggio as above).

Below are positional and diagonal shapes for the G half-whole diminished scale. Again, each can be shifted in increments of three frets at a time without altering the pattern or tonality. Therefore, these effectively cover the entire neck.

Other Exotic and Ethnic Scales

What would an ultimate scale book be without a bit of the unusual and bizarre? The adventurous guitarist may expand each of the following over the entire fretboard, as well as shift them into other tonalities.

Enigmatic

The structure of the enigmatic scale is shown below on C. It begins like Phrygian-dominant, borrows the middle portion of the whole-tone scale, and tops it off with half steps around the root.

Below, the enigmatic scale’s positional and diagonal patterns are based on A. Practice in other keys, too.

Double harmonic

The double harmonic scale features the bottom half of Phrygian-dominant and the top half of harmonic minor. Look in the structure for two W+H intervals flanked on either side by half steps. This structure is also known as the “gypsy” and “Byzantine” scale.

Below, the double harmonic scale is shown in positional and diagonal shapes based on A. Practice in other keys, too.

Hungarian minor

This is a harmonic minor with a raised 4th. Notice the W+H intervals flanked by half steps in two places.

Below, the Hungarian minor scale is shown in positional and diagonal shapes based on A.

Persian

The Persian scale begins like Phrygian-dominant, then goes into a sort of “Locrian-harmonic minor.”

Here is the Persian scale in positional and diagonal shapes based on A.

Arabian

The Arabian scale blends major on the lower half with Locrian on the upper half. (This structure may also be called the “major Locrian scale.”)

Below, the Arabian scale’s positional and diagonal shapes are shown based on A.

Japanese

This pentatonic scale has no 3rd, but a ♭6 and ♭2 give it an overall minor color.

Below are positional and diagonal shapes for the A Japanese scale.

Egyptian

Here is another pentatonic scale with no third. It tends to lack resolution, and sounds odd as a key center. (It also happens to be the third mode of minor pentatonic.)

Below, the Egyptian scale is shown in positional and diagonal shapes based on A.

Hirajoshi

Another pentatonic scale, this one alters a major pentatonic structure with minor 3rd and minor 6th intervals.

The Hirajoshi scale in A is shown below in its positional and diagonal shapes.