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Scales & Modes Guitar Lesson

Home > Guitar Lessons > Skill Building > Theory and Improvisation > Music Theory 101 with Steve Eulberg > Scales & Modes
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Steve Eulberg

Scales & Modes

Steve explains how scales and modes are constructed. Here, you will apply the musical alphabet to the various tones played on the guitar.

Taught by Steve Eulberg in Music Theory 101 with Steve Eulberg seriesLength: 2:28Difficulty: 0.5 of 5
Modes came before Scales. The Greeks experimented with and defined the ancient modes from the tetra-chords (4 notes) that were standard for the 4-string Lyre. When they combined these, the results were 8-note patterns of pitches (with the top and bottom pitch being doubled) that they named modes.

These pitches were defined by the intervals between the notes. These intervals were either larger (what are now 2 half-steps) or smaller (what is now considered 1 half-step).

The Greeks defined 7 classical modes and ascribed to them different qualities, and related them to their world-view. e.g. certain modes were connected with the different Greek gods and the planets that are associated with them and were given different place names from their locations (e.g. Ionian, Dorian, Aeolian. We'll explore these modes more fully in a later lesson.)

These 7-note patterns are familiar to us as Diatonic scales. For example, the do-re-mi-fa-sol-la-ti-do pattern that most singers know from choir experience (if not the Sound of Music song), is the same as the Ionian Mode AND the same as the Major Scale. These seven note patterns are like playing only the white keys on a piano. (e.g. C D E F G A B C)

The Chromatic scales developed when 5 more notes were added to the 7 to result in 12 tone scales (each whole step was divided into 2 half steps). This is like the black keys that are added to the piano. (I told you we'd get to these later!) A chromatic scale, then, is one in which every step of the scale is played, resulting in 13 notes (if you double the first and the last note) e.g. C C# D D# E F F# G G# A A# B C

Of course, a guitar fretboard is like having all the piano keys all the time and one can play a chromatic scale by starting at 0 on any string and playing every fret up the fretboard until reaching the 12th fret. The relationship of Diatonic Modes and Chromatic scales can be illustrated by comparing them to how one uses stair steps as seen in this diagram: The corresponding graphics can be found in the supplemental content.
  • Theory 4 Notes (PDF)
  • Octave Diagram
  • The Chromatic Scale
  • Chromatic & Diatonic Scales
  •  



Supplemental Learning Material

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Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.


artistartist replied on April 13th, 2011

I really need to learn the scale backwards. I guess that will come with practice.

ciprian_popescuciprian_popescu replied on August 10th, 2010

hi there, maybe I am wrong... is there a mistake in the last diagram? wasn't there supposed to be a semitone between mi-fa and ti-do - the ionian one I mean?

kalabajabakalabajaba replied on April 16th, 2012

no

YucatanEdYucatanEd replied on April 26th, 2010

Wow. I finally know what diatonic means. (crosses off one thing on list of things to learn). Great!

ablazich323ablazich323 replied on April 6th, 2010

i can't wait for more of these lessons to be up, theory is something i feel i need to learn

Nick.KellieNick.Kellie replied on March 31st, 2010

cool Steve! the gin and tonic comment made me laugh!

tammy7689tammy7689 replied on March 31st, 2010

im really enjoying these lessons.....great job steve...keep em coming :)

Music Theory 101 with Steve Eulberg

Found in our Beginner Lesson Sets

Steve presents an information packed lesson series that will break down the basics of music theory. From the language to notation, all things music will be taught right here.



Lesson 1

Introduction to Series

Welcome to the introduction video to Steve's music theory lesson series! This is an information packed series that will cover the fundamental elements of music including notation, language, rhythm, harmony...

Length: 2:23 Difficulty: 0.5 Members Only
Lesson 2

Sound and String Physics

Steve Eulberg delves into a few scientific properties that explain why the guitar produces its unique sound.

Length: 9:51 Difficulty: 0.5 Members Only
Lesson 3

The Musical Alphabet

Steve provides a brief explanation of the musical alphabet. From A to G, Steve demonstrates his "finger" method as a great remembrance tool. This tool will help you understand the topics that Steve will...

Length: 2:46 Difficulty: 0.5 Members Only
Lesson 4

Scales & Modes

Steve explains how scales and modes are constructed.

Length: 2:28 Difficulty: 0.5 Members Only
Lesson 5

Whole & Half Steps

In this lesson, Steve explains what whole and half steps are. In conjunction with the musical alphabet, Steve provides in depth instruction on how certain notes and intervals work together.

Length: 6:16 Difficulty: 0.5 Members Only
Lesson 6

Musical Notation

Steve explains the basics of standard musical notation. This Western system of writing music primarily details two parameters - pitch and time. Discover the visual world of music in this lesson!

Length: 5:32 Difficulty: 0.5 Members Only
Lesson 7

Musical Notation Continued: Musical Staff

Steve continues his music theory series as he dives more in depth into musical notation. Here he breaks down the staff and explains how it is used in reading music.

Length: 5:49 Difficulty: 2.0 Members Only
Lesson 8

Understanding Tablature

Steve breaks down Tablature. This is a very simple concept and when applied in the correct way, can be used to teach any determined guitarist any kind of arrangement.

Length: 4:00 Difficulty: 3.0 Members Only

About Steve Eulberg View Full Biography An Award-winning multi-instrumentalist and singer-songwriter, Steve Eulberg weaves mountain and hammered dulcimers with a variety of unusual instruments to create thought-provoking, smile-inducing, toe-tapping acoustic experiences.

He has sung and composed for religious communities, union halls, picket lines, inter-faith retreats, mountain-top youth camps, as well as the more familiar venues: clubs, coffeehouses, bookstores, festivals, charity benefits and showcase concerts.

Born and raised in the German-heritage town of Pemberville, Ohio, Steve was exposed to a variety of music in his home. Early piano lessons were followed by trumpet in school band, and he became self-taught on ukelele and guitar and harmonica. Mandolin was added at Capital University where, while majoring in History, he studied Ear Training, Voice and took Arranging lessons from the Conservatory of Music.

While at college, he first heard hammered and mountain dulcimers, building his first mountain dulcimer just before his final year. Seminary training took him the west side of Denver where he built his first hammered dulcimer. With these instruments, he was able to give voice to the Scottish, English and Irish traditions to which he is also heir.

Following marriage in 1985 to Connie Winter-Eulberg he settled in Kansas City, Missouri. There he worked cross-culturally in a church of African-Americans, Latinos and European Americans, with music being a primary organizing tool. He moved with his family in 1997 to be nestled beside the Rocky Mountains in Fort Coillins, Colorado.

Founder of Owl Mountain Music, Inc. he teaches and performs extensively in Colorado and Wyoming with tours across the US and the UK. He delights in introducing the “sweet music” of dulcimers to people in diverse settings and in addition to his own recordings, has included dulcimers in a variety of session work for other musicians.

In 2000 he was commissioned to create a choral composition featuring dulcimers for the Rainbow Chorus in Fort Collins. It was recorded in the same year (BEGINNINGS). He is currently at work on a commissioned symphony that will feature hammered dulcimer and Australian didjeridu.

Eulberg passionately believes that music crosses cultural and language barriers because music builds community. Influenced by a variety of ethnic styles, his music weaves vital lyric with rap, rock, folk, gospel and blues. Audiences of all ages respond well to his presentation and to his warm sense of humor.

Steve is a member of Local 1000 (AFM), The Folk Alliance, BMI and BWAAG (Better World Artists and Activist's Guild).

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