Scarborough Fair Guitar Lesson

Chapter 1: (00:27) Lesson Introduction Welcome to lesson 12! In the past three lessons, Matt demonstrated fretboard patterns for the natural minor scale. He also explored important theory concepts pertaining to this scale. A few new written scores provided reading practice in minor keys.

In lesson 12, Matt switches gears to a new type of minor scale. This scale is referred to as the Dorian mode. In the scenes that follow, you will learn basic theory concepts pertaining to the Dorian mode. Matt also provides a comparison of this new scale to the natural minor scale. As usual, fretboard patterns are discussed in detail. Finally, your comprehension of the lesson material is put to the test by reading through a new melody. Chapter 2: (00:54) Dorian Minor Scale The melody to "Scarborough Fair" represents a common application of the A Dorian mode. The term "mode" refers to a scale that is derived from another scale. The A Dorian mode is derived from G major, a scale discussed in past lessons.

Note: Watch lesson 26 from Brad Henecke's Phase 2 Classic Rock set for another great lesson on the Dorian mode. Chapter 3: (02:44) A Dorian Mode We've already learned the G major scale. This scale consists of the notes G, A, B, C, D, E, F#, and G. If the notes from this scale are rearranged in new order, a new scale is created. For example, begin the G major scale on the second note, A. This rearrangement of the scale produces the following notes: A, B, C, D, E, F#, G, A. The resulting scale is the Dorian mode.

Comparison to the Natural Minor Scale

Compare the spelling of the A Dorian mode to the spelling of the A natural minor scale.

A Dorian: A, B, C, D, E, F#, G, A
A Natural Minor: A, B, C, D, E, F, G, A

The two scales differ only by the sixth degree. In comparison to the natural minor scale, the sixth note in the A Dorian mode is raised. A distinct new flavor is produced by the raised sixth. Listen carefully as Matt plays these two scales back to back. How would you define the differences that you are hearing?

Key Signature for Dorian Pieces

Pieces composed in the Dorian mode are either notated one of two ways. Since the A Dorian mode is derived from its parent G major scale, this mode is often written with the same key signature as G major. However, A Dorian is frequently notated with the same key signature as A natural minor.

Practicing the Dorian Mode

Before proceeding to the next scene, familiarize yourself with the Dorian mode in first position. Simply remember to sharpen the sixth note in the A natural minor pattern.

Note: Tablature and notation to the Dorian mode in first position can be found under the "Supplemental Content" tab.

When practicing any scale, always begin on the lowest root note. In this case, the open A string is the lowest root note. Then, ascend to the highest note available in the position. The highest note in first position is G, played at the 3rd fret of the first string. Next, descend the scale to the lowest root note in the pattern. This note is open E, played on the sixth string. Finally, ascend the pattern back up to the root note.

Picking Practice

Also, practice through the pattern using a variety of picking techniques. Use the following picking patterns when practicing all scales:

1. All Downstrokes
2. All Upstrokes
3. Alternate Picking Beginning with a Downstroke
4. Alternate Picking Beginning with an Upstroke

Rhythm Practice

Once you have mastered the Dorian pattern, apply the rhythm exercises presented in past lessons. Insert this type of scale practice into your daily warm-up routine. Chapter 4: (02:35) Scarborough Fair Melody Remember to follow these important steps before you dive into playing a new piece:

1. Make a note of the official title and composer. The official title of this song is "Scarborough Fair." The composer of the melody is unknown.

2. Examine the key signature. There is one sharp in the key signature. As a result, it can be determined that the song is either in the key of G major or one of its modes. So far, two modes of the G major scale have been discussed. A Dorian and E natural minor are both modes of the G major scale. Analyze key features of the melody to determine which scale or mode the song is played in. Most melodies typically begin on the tonic note. However, this isn't always the case. Next, take a look at the chord changes listed above the melody. Since the chord progression begins and ends with an Am chord, it's pretty safe to assume that the melody is played in A Dorian.

3. Note the time signature. This song is played in 3/4 time. Remember the rules of time signatures! The top number indicates three beats per measure. The quarter note receives the beat. 3/4 produces a waltz time feel. Count "1, 2, 3" for the quarter notes of each measure.

4. Note the tempo and style of the piece. No style is listed. You have probably heard performances of this song before. Use these recordings as a reference when practicing this melody. What emotion is evoked by the melody? Add these elements as you work through the song.

5. Study the melody for any important features such as pickup notes. None are present. The first measure is a complete measure. Chapter 5: (06:55) Scarborough Fair Phrases Phrase 1

The first phrase lasts for a total of four measures. The lyrics that accompany this phrase are listed below:

"Are you going to Scarborough Fair?"

Since this is the first phrase of the melody, we shall refer to it as "a."

Phrase 2

This phrase begins on beat 2 of the fifth measure. Do not skip over the rest! Remain silent for the duration of the full first beat of the measure.

Position Shift

The second phrase forces you to shift up to second position. When playing in this position, the first finger plays all notes at the 2nd fret. The middle finger plays at the 3rd fret, and the pinkie plays at the 5th fret. The position shift is used to accommodate a new high note. This note is A, located at the 5th fret of the first string. This note appears on the first ledger line above the staff. Remember that the ledger lines are the small lines that are written above and below the staff.

The F# note within this phrase is what gives the melody its distinct Dorian sound. How would the melody sound if all of the F#'s were changed to F naturals?

Phrase Label and Lyrics

This phrase is labeled "b." It features brand new melodic material.

The lyrics for the second phrase are listed below:

"Parsley, sage, rosemary, and thyme."

Phrase 3

The third phrase begins on the last beat of measure eight. The left hand remains in second position for the start of the phrase. However, a shift back into first position occurs at the end of the phrase. When the open E note is played, quickly shift the left hand back into first position.

Phrase Label and Lyrics

This phrase is labeled "c." The lyrics for the third phrase are listed below.

"Remember me to one who lives there."

Phrase 4

Phrase 4 begins on the downbeat of measure 13. It features completely new melodic material. Consequently, the phrase is labeled "d." Notice how none of the phrases in the melody repeat.
The lyrics accompanying this phrase are "She once was a true love of mine." Chapter 6: (03:01) Play Along and Wrap-up Before attempting to play along with the lesson video, practice the melody on your own with a metronome. Start at a slow tempo such as 60 or 70 beats per minute. Do not neglect key rhythmic features such as rests. After mastering the melody at a given tempo, increase the metronome speed by a few increments. Once you have reached 118 beats per minute, return to the lesson video and play along with Matt. This pushes the tempo faster than previous lessons. Remember to keep going if you make a mistake. After completing the entire melody, go back and address any errors.

Preview of Next Lesson

Matt runs through one more minor key song in the following lesson. In later lessons, he begins to advance up the fretboard. Second position scales and melodies will be demonstrated in detail.

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