FRETBOARD FLUENCY

Martin Goulding brings you part six in his series on the modes of the Harmonic Minor scale. This month: Phrygian Dominant dim7 arpeggios.

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

Welcome to this month’s column on fretboard fluency, the sixth part in our series on the Harmonic Minor scale: R-2- b3- 4-5- b6- 7. Harmonic Minor can be visualised as a Natural Minor scale with a major 7th degree. Natural Minor: R-2- b3- 4-5- b6-b7 Harmonic Minor: R-2- b3- 4-5- b6- 7

Over the course of the series, we’ve looked at the five A Harmonic Minor shapes based around the CAGED system, as well as the harmonised scale which consists of a family of seven diatonic chords, arpeggios and modes.

Last month, we started a mini series focusing on the fifth and most commonly used mode – Phrygian Dominant. This mode consists of the formula: R- b2- 3-4-5- b6-b7 and is commonly applied over V7 chords in Minor progressions as a means of heightening tension before resolving back to the tonic I Minor chord.

Last lesson, we looked at the concept of triad pairing, with the Major triads built from the root, and b2nd degrees used as a framework for constructing melodies over the E Phrygian Dominant tonal centre.

This month, we’ll be taking a look at the diminished 7 arpeggio which is commonly applied a semitone higher than the root of the V7 chord in a Minor key, and outlines a darker V7b9

sound. To understand this, let’s review the notes and intervals of the Fdim7 arpeggio, as well as how these intervals change as we view them from the perspective of the dominant 7th chord in the key of Am (E7):

Ab b3rd), Cb b5th), Ebb bb7th)

F (R), ( ( ( = Fdim7. And now viewed from the root note of our dominant 7th (E7) in the key of Am:

b9), Ab Cb Ebb b7th) E7b9. F( (3rd), (5th), ( =

We can commit this concept as a formula by remembering that, over any V7 chord in a minor key, play the dim7 arpeggio up a semitone, or in other words – from the b2nd degree of Phrygian Dominant.

The Phrygian Dominant sound and use of diminished 7 arpeggios gained popularity in the late 70s and early 80s, with players such as Uli Jon Roth, Eddie Van Halen and Randy Rhoads well known for incorporating classical influences within their rock-based styles. This new melodic approach was taken to new levels by Swedish guitar virtuoso Yngwie Malmsteen, his landmark 1984 debut album Rising Force providing the blueprint for the new neo-classical rock guitar style. This sub genre gained momentum throughout the rest of the decade with a succession of classically influenced virtuosos including Paul Gilbert, Tony MacAlpine, Vinnie Moore and Jason Becker all pushing the boundaries of rock guitar soloing to new heights.

NEXT MONTH Martin continues his series looking at the various modes of Harmonic Minor

Vinnie Moore: one of the great ‘neo-classical’ rock guitarists

Go for a distorted tone with the gain on full, bass and treble at 12 o’clock and middle at 2 o’clock. As well as being the sound of neo-classical rock, it will help you to monitor your muting, as unplayed strings will often create noise, especially as you ascend the strings. A good place to start is with the above settings, adjusting to taste according to pickup types, etc. A dash of reverb will help give a little more ‘air’ to the notes for a bigger sound.

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