Gypsy Minor

[IOSEPHVS]

Every month I pick a scale and for the most part all I do is practice it along with its diatonic triads. The goal is to come up with interesting lead phrases and corresponding chord progressions.

This month has been dedicated to the Gypsy Minor scale with E being the tonic:
E F# G A# B C D# E

The diatonic triads are:
Em - E G B
F#Majb5 - F# A# C
GAug - G B D#
C7/A# - A# C E
BMaj - B D# F#
CMaj - C E G
D#m - D# F# A#

7th, 9th, etc. chords can then be extrapolated and added to the mix.

I'm really liking the Gypsy Minor, especially the three consecutive half-steps, in this case A#, B, and C which work very well over the Em, BMaj, CMaj, and D#m triads.

 

[Dioesque]

Also known as Hungarian minor, this is one of my favorite “exotic” scales.

Not only is it very gypsy-esque, but it can also be very spooky or “sci-fi” sounding, if played right (e.g., using a slide, with lots of wide vibrato — or even on a theremin!).

And the fifth mode of that very scale (same exact notes, but starting & stopping on its B note instead of E as the root/tonic) is Ritchie Blackmore’s so-called “snake charmer scale,” with its distinctive Byzantine/Turkish/Persian/Arabian Nights flavor (a.k.a. the “double harmonic” scale — basically a Phrygian dominant scale, but with a raised 7th).

I assume those chords that you specify would be the same — regardless of whether the Gypsy/Hungarian scale, or its 5th mode (snake charmer/double harmonic scale), happens to be in play?

 

[IOSEPHVS]

If we maintain modality, when soloing over the V triad (BMaj), the Gypsy Major (B C D# E F# G A# B) scale would be very useful. The last time I wandered around there, I was "lost" for about two months.

 

[junk notes]

Some substitutions for the chord melody can be had here. Some fingerings are practically impossible with small hands and/or dexterity. (Holdsworthian)
When you layout the fretboad you can clearly see familiar Maj/min chords and paths/routes to use. As simple as connection the dots.

 

[1967owner]

Every month I pick a scale and for the most part all I do is practice it along with its diatonic triads. The goal is to come up with interesting lead phrases and corresponding chord progressions.

This month has been dedicated to the Gypsy Minor scale with E being the tonic:
E F# G A# B C D# E

The diatonic triads are:
Em - E G B
F#Majb5 - F# A# C
GAug - G B D#
C7/A# - A# C E
BMaj - B D# F#
CMaj - C E G
D#m - D# F# A#

7th, 9th, etc. chords can then be extrapolated and added to the mix.

I'm really liking the Gypsy Minor, especially the three consecutive half-steps, in this case A#, B, and C which work very well over the Em, BMaj, CMaj, and D#m triads.

I like this idea of studying a different scale every month since I tend to be a little random when it comes to practicing. Once you've done this for a month how often do you come back to the scale to keep it and the chords associated with it under your fingers? When I was playing standards for club dates I had to constantly rehash the tunes to remember them. If I didn't play a tune for a while I would have to relearn it.

 

[IOSEPHVS]

I like this idea of studying a different scale every month since I tend to be a little random when it comes to practicing. Once you've done this for a month how often do you come back to the scale to keep it and the chords associated with it under your fingers? When I was playing standards for club dates I had to constantly rehash the tunes to remember them. If I didn't play a tune for a while I would have to relearn it.

I have warm up exercises that I go through every day before practicing. If I come up with something interesting, that I don't want to forget, I'll add it to the warm up routine. Some things I will put to paper in a standard notation notebook.

One reason that I do this is to acclimate myself to playing unusual scale patterns, and to force myself to repeatedly play difficult and unusual chords so that they become familiar and not so difficult to play.

Plus, it's kinda cool in a solo to pull out a phrase that makes other guitarists ask, "WTF was that one thing you did?"

To answer your question, I don't remember every note/chord in each scale, and I will have to revist them in the future. If I can retain something every time I do that, I'm still learning, and that's why I practice.