FRETBOARD FLUENCY

This month Martin Goulding continues his look at the Harmonic Minor scale, where today he’s focusing on the arpeggios of D Harmonic Minor in CAGED shape 4.

Martin Goulding brings us another lesson on developing solos from Melodic Minor’s modes.

Welcome to this month’s column on developing fretboard fluency, with the fourth part in our series on the incredibly useful Harmonic Minor scale. This scale consists of the formula R-2- b3- 4-5- b6- 7, and can be visualised as a Natural Minor with a major 7th degree. Natural minor scale: R-2- b3- 4-5- b6-b7 Harmonic minor scale: R-2- b3- 4-5- b6- 7

Over the last three months we’ve looked at the five A Harmonic Minor scale shapes based around the CAGED system, as well as the harmonised scale which consists of seven diatonic chords, arpeggios and modes outlined in the panel below.

In addition, we’ve worked through a range of scale and arpeggio sequences, which we’ve used to develop our technique and visualisation of the whole diatonic system in one area of the fretboard. With our last lesson based around the arpeggios of the A Harmonic Minor scale arranged in shape 1, and which equates to shape 3 of the fifth and most commonly used tonal centre (E7/E Phrygian Dominant), this month we’ll work through the arpeggios of D Harmonic Minor arranged in shape 4 (which equates to A7/ A Phrygian Dominant in shape 1). Between these two ‘shape 1 and 4’ Harmonic Minor ‘master positions’ (or from the Phrygian

Dominant perspective – shapes 3 and 1), we’ll be able to access all seven diatonic arpeggios under one hand position from both root 6th and root 5th perspectives.

As we work through we may recognise some of the more familiar types such as maj7,

m7b5 m7, dom7 and from our Major and relative Natural Minor scale, with the minor-maj7 and maj7#5 arpeggios already familiar from our recent Melodic Minor study. This leaves only the diminished 7 arpeggio, which we were introduced to last month in shape 1, left to learn – here in shape 4.

As a contrast to last month’s lesson, where we used alternate picking to execute the seven diatonic arpeggios, this month we’ll combine sweep picking with hammer-ons and pull-offs to ascend and descend each form. This will make for a smoother and more legato-based sound.

Then, once we’ve worked through the whole diatonic system, we’ll move on to highlight some other common sequences including an example in 3rds as well as an ‘up one, down two’ style pattern which incorporates all seven arpeggios.

These types of sequence form the building blocks of improvisation and, when combined with other melodic and rhythmic concepts, can help generate a whole vocabulary of new and exciting melodic ideas.

NEXT MONTH Martin looks at more fretboard navigations using Harmonic Minor modes

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Use a warm overdriven tone to play through this month’s examples. A good place to start when dialling in your sound is to set the treble, midrange and bass flat (12 o’clock), with the gain control set from around two thirds (2 o’clock) to full (depending on the specific genre). Try then cutting the mids a couple of notches for rhythm, and boosting for lead. To enhance the basic tone add a splash of reverb or light to medium delay.