Guitar World | 10 years ago
This video is bonus content related to the May 2015 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the guitar world online store:http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-may-15-joan-jett?&utm_source=gw_homepage&utm_medium=article&utm_campaign=May2015VideosPage
In the previous two String Theory columns (March and April 2015 issues), I introduced a pair of hexatonic (six-note) scales that are comprised of the same six notes and may be thought of as opposing sides of the same musical coin—the dark, serious-sounding E minor hexatonic (E F# G A B D) and its one useful mode, the beautifully bright D major hexatonic (D E F# G A B).
I’d now like to turn you onto another interesting and appealing hexatonic scale that shares five of these scales’ six notes, C Lydian hexatonic.
C Lydian hexatonic is formed by taking E minor hexatonic and raising the fifth, B, one half step, to C, and reorienting all the notes to a C root: C D E F# G A.
FIGURE 1 illustrates this metamorphosis and the close relationship between the two scales’ fingerings in seventh position, with each note’s function indicated, relative to the E and C roots.
