The golden rules of harmonised scales

[Jason Lynch]

A little experimental idea i came up with for learning harmonised scales. Let me know if this is any good, I've got a couple more.
Jason.

[Donny Johnston]

Cool I didn't see a smilie for applause. Donny.

[Jason Lynch]

Thanks Donny.

[joehw]

Thanks for the post!

Great simple way of remembering where you are on the neck.

[Danny Mitchell]

Thanks for taking the time and sharing this Jason. Grist for the mill is always appreciated

[Jason Lynch]

At long last, I got round to finishing these off. Hope they help.

[Jason Lynch]

[Danny Mitchell]

Good Stuff Jason
Thanks for the posts

[Jason Lynch]

No problems. Cheers Danny.

[Will C]

Jason,

In Part 3 you say "when using the A or E - but never together" that you haven't been able to see a thread that holds it all together. Surely the use of the open 5 string and the lowered 8 string is the same as the same pair of notes two frets back, using A & F? In other words, you are finding the same pair of notes, but in a different place? If so, the thread that works for the first half of that video also works for the second half.

As an example, fret 6, A&F gives the tonic (G) on string 5 with the A pedal, and the major third (B) on string 4 or 8, raised by the F lever.
Ok, so also is fret 8, no A pedal, you still have G on string 5, and string 8 lowered from C down to B by the E lever. These two positions are "synonyms"!

It just goes to show there's no substitute for knowing where the notes can be found!