Scale Sequences: 15 Hot

Patterns That Will Fire Up Your

Solos
Posted 04/26/2016 by Guitar World Staff , photo by Cindy Moorhead
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If youre a guitarist who loves to practice, youre probably well acquainted with
a scale sequence or two.
But if you think theyre best left for the practice room, think again. The fiery
solos of hard rock are laced with 16th-note scale sequencesthink Ritchie
Blackmore, Randy Rhoads, Uli Jon Roth, Michael Schenker, John Petrucci,
Paul Gilbert, Eric Johnson, Yngwie Malmsteen and Vinnie Moore. Jazz and
fusion guitaristsincluding Django Reinhardt, Joe Pass, Joe Diorio, John

Scofield and Frank Gambaleemploy a wide variety of arpeggio and

sequence-triad patterns.
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Intervallic sequences also abound in the country stylings of Alert Lee, Brent
Mason and Danny Gatton, and the blues idiom is peppered with triplet-based
sequences. Under the circumstances, its obvious that there is a lot we can
learn from the abundant use of sequencing patterns.
In this lesson, well take look at the power of these patterns and explore ways
you can put them to use to ignite your solos and licks with a new intensity.
Once weve run through the basics, well apply them to a written solo to see
how they can be used in real-life situations.

SCALE SEQUENCES
Just what is a scale sequence? Traditionally, a scale sequence is a specific
pattern of notes, usually two to four, that is repeated at various starting points
within the same scale. Take a look at FIGURE 1A, which depicts the popular
groups-of-four sequence.

This example begins by ascending the first four notes of the C major scale (C
D E F), at which point the pattern repeats, only starting this time on the
second degree of the scale, D. The next repeat of the pattern starts on the
third degree, E, and so on. This sequence can be applied to any scale or
mode simply by following the diatonic scale degrees 1-2-3-4, 2-3-4-5, 3-4-5-6,
and so forth, FIGURE 1B depicts the descending form of the groups-of-four
sequence, this time applied to the C minor scale (C-D-Eb-F-G-Ab-Bb).
Starting from the root, C, the four-note pattern descends the scale as follows
1(8)-b7-b6-5 (C-Bb-Ab-G); b7-b6-5-4 (Bb-Ab-G-F); b6-5-4-b3 (Ab-G-F-Eb),
and so on.

Another common scale sequence is the triplet-based groups-of-three

pattern.FIGURE 2A offers an examples of the ascending version, drawing on
the A Dorian mode (A-B-C-D-E-F#-G).

FIGURE 2B descends the E Mixolydian mode (E-F#-G#-A-B-C#-D) via the

groups-of-three sequence. This time, however, the triplets are converted to
eighth notes, offering a rhythmic offset: triple meter superimposed over duple
meter.

Try applying these sequences to your favorite scale patterns. And dont feel
that you always have to start the sequence from the root of the scale
sometimes its desirable to begin from another scale tone. Here are a few
more sequences you might want to try, 1-2-3-1, 2-3-4-2, 3-4-5-3, etc. 1-2-3-45, 2-3-4-5-6, 3-4-5-6-7, etc. 1-2-3-4-3, 2-3-4-5-4, 3-4-5-6-5, etc. 1-2-3-4-5-4-3,
2-3-4-5-6-5-4, 3-4-5-6-7-6-5,etc. 1-7-1-2-3-4, 2-1-2-3-4-5, 3-2-3-4-5-6, etc.
Scale sequences can also be applied to nondiatonic scales, such as major
and minor pentatonics. Check out FIGURES 3A-B for some intriguing
possibilities.

INTERVALLIC SEQUENCES
Its also common practice to apply sequences to diatonic intervals. Perhaps
the most useful of these is the diatonic 3rd varietya pattern that ascends in
an up two (scale steps), back one theme. FIGURE 4A illustrates this process
using the C major scale (C-D-E-F-G-A-B). The formula for ascension is 1-3, 24, 3-5, 4-6, etc. Descension goes as follows: 1(8)-6, 7-5, 6-4, 5-4, etc.

FIGURE 4B is a sawtooth sequence of 3rds applied to the C major scale. The

sawtooth sequence starts out the same as the diatonic 3rds (1-3) but then
goes up one scale step and back down a diatonic 3rd: 1-3-4-2, 3-5-6-4, 5-71(8)-6, etc., when ascending, and 1(8)-6-5-7, 6-4-3-5, 4-2-1-3, etc., when
descending.

You can rack up a lot of melodic mileage by combining these 3rds sequences
with other scale patterns and modes. And while youre at it, try experimenting
with other combinations of intervals. FIGURE 5 shows a descending
sequence of diatonic 4ths (a common move in jazz) within the A Dorian mode.

FIGURE 6 is a sawtooth sequence of diatonic 5ths (a popular fusion

technique) descending the D Mixolydian mode (D-E-F#-G-A-B-C).

TRIAD AND ARPEGGIO SEQUENCES

Many scale-sequence patterns can also be applied to triads and basic 7th
arpeggios. FIGURE 7 ascends the G major scale via a sawtooth sequence of
harmonized triads. The pattern simply rolls up one triad (from the root) and
then down the other (from the 5th), in diatonic succession (G-Am-Bm-C-DEm-B) up the scale pattern.

FIGURE 8 applies an interesting sequence to an Em7b5 arpeggio (used as a

substitute over a C7 chord).

Inspired by the diatonic 3rds sequence in FIGURE 4A, it skips every other
note as it gradually climbs the arpeggio. Other patterns that lend themselves
well to arpeggios are the groups-of-four (FIGURES 1A-B) and groups-of-three
(FIGURES 2A-B) sequences.

THE SOLO
The style for this solo (FIGURE 9) is hard-driving rock. Written in the key of A
minor, its a 16-bar progression constructed from two similar eight-bar
sections. Both start with a ibVI-iv (Am-F-Dm) passage, but the first section
ends on a i-bVII (Am-G) turnaround, whereas the second goes out on a V7-i
(E7-Am) cadence.
The solo opens with a groups-of-three sequence that descends the A minor
scale (A-B-C-D-E-F-G) from C to G. Notice how the rhythmic variationhalf
note, eighth-note rest, and tied eighth notesand the staccato accents break
up the predictability of the sequence. In measure 3, F Lydian (F-G-A-B-C-D-E)
is dispatched to mark the arrival of the bVI chord (F). The groups-of-three
theme is maintained but camouflaged by two rhythmic motifs. The first follows

a scheme of a dotted-quarter note and two 16th notes (measure 3), while the
second exploits a grouping of an eighth note and two 16th notes (measure 4).

Measures 67 host an ascending Dm7 arpeggio (D-F-A-C) based on the

sequence in FIGURE 8. Notice how the rhythms reflect the motif activity from
measures 45. Measures 78 put a descending wrap on the first section with
a sequenced Am7 arpeggio (A-C-E-G) followed by a straight-ahead groups-offour sequence that slides down the G Mixolydian mode (G-A-B-C-D-E-F).

The second section opens with an eighth-note-triplet theme (measures 910),

which creates considerable rhythmic intensity against the driving, steady

eighth-note groove. The A minor scale supplies the melodic fuel for both the
harmonized triad passage and the subsequent diatonic 6ths sequence.

The rhythmic tension is released in measure 11, where a pair of figures

rhythmically, a quarter note, a 16th rest, and three 16th notesslot
themselves into the meter. A back-pedaling sequence (1-5-7-5, 3-1-3-1,5)
employing an Fmaj7 arpeggio (F-A-C-E) provides melodic anticipation, which
is heightened by the arrival of a galloping groups-of-three sequence in
measure 12. In measure 13, an economic melody based on D Dorian (D-E-FG-A-B-C) allows for a momentary breath before the solo goes out with a gofor-broke set of incendiary sequences that zip down the A harmonic minor (AB-C-D-E-F-G#) scale and then up the A natural minor scale.