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Hi Guys,

In this blog we will have a brief look at scales from a different perspective.

This [Guitar] scale lore as an approach is extremely useful for both composition and improvisation.

Before we start let’s get a perspective of the different [Partial] scales we can find embedded within common scales.

Below, we have the B Altered scale. Notice that half of it contains a Whole tone scale whilst the other half contains a Diminished scale: This creates its exotic beauty.

Next let’s look at the Diminished scale: Here we find two Mixolydian Tetrachords. The first with [C] as the root and the second with [F#] a tritone away.

Next, we will create a “Never ending” scale with Tetrachords and you will see how easy it is to be creative with a basic scale cell.

From the above example notice the Lydian movement that is created in the cycle of 5ths:

SCALE LORE:

PolyScales and Bi-Tonal Scales:

Below we have an example of “Blending” scales. Notice how the scale connects with semitones [in blue circles] and the movement follows that of Sandoles student John Coltrane.

Now, we will mix it all up in a much more random manner:

In this next example we will go the opposite way and create smooth connecting scale fragments by employing triplets:

Now we will use this concept and create a superimposed arpeggio.

Note the intervals as the two Maj7th chords/arpeggios connect:

SCALE COMBINATIONS

We will now join two common scales together. For this we will employ the Lydian Dominant scale and connect it with the Enigmatic scale. 

Example 1:

Chord to short run.

Example 2:

“Double time” 16th’s ascending and descending:

Example 3:

In this last example we will employ triplets once again and create arpeggio/triads from the two connected scales:

Multi scales as arpeggios/triads:

EXAMPLES BY DENNIS SANDOLE

To finish with here are a couple of examples written by Dennis Sandoles own hand:

Example 1:

Example 2:

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