Scales

I'm sorry, I have no idea what you're talking about.

He means that he'd play a note, then play the same note but at different octaves. It's not much of a scale, considering it's only one note. E unitonic?

Some pretty good solos, as well as vocal melodies, have been made using one note.  John Lennon did it all the time.  Changing the background chord makes it more interesting.

Let's say you change chords from C to F to Dm to G and  play a constant E over them.   The chords become:
C - Fmaj7 - Dm9 - G6.  Pretty sweet, but no change in character.

Play a B and the chords become:

Cmaj7 - Fadd#11 - Dmmaj6 - G.

Actually, I was talking about note 1 being low E, and going through that scale pattern  12_3_4_5__1, or in steps:
h-w-w-w-wh. It ends on the three as a high E.

[glow=red,2,300]I am a retard[/glow]

Actually, I was talking about note 1 being low E, and going through that scale pattern  12_3_4_5__1, or in steps:
h-w-w-w-wh. It ends on the three as a high E.

That's E Phrygian but without the b6 (C).   Why do you say it ends on the 3 (G)?  All scales end on the original note, an octave higher.  That's as close to being "by definition" as I can think of.

What does that have to with scales that skip the 2nd octave?  

I'm still at a loss.

sorry, maybe I should finish the pattern. Shortcuts cause confusion. ok. I was wrong. Nevermind. Sorry I confuzed you, what I was talking about was polyscales. I was going about it the wrong way. I feel very stupid now. lol. :P :-X

I wanted to comment on the discussion betweem stock28 and Noteboat about scales that would clash.  
Noteboat is obviously quite knowledgable about theory so I would listen to him carefully.  I just wanted to comment that technically no scales have to clash as longs as a phrase is resolved.  Guitar players like George Benson, Michel Cusson and many others can put so many ideas out in such a short amount of time and still resove them that it may make your head spin.  The catch is actually being able to implement the phrase and resolve it at a appropriate time.  Also, playing by ear is a must and will work for most pop & rock however doing improve while reading chords is a must for most hard core Jazz.  Both are good goals!  So far I've only managed to do the ear thing myself.  One other comment I didn't see mentioned about the modes.  The modes are built on traids off each note of your major scale.  One of the most important things to remember about the modes made from the Major scale are the chord tones associate with each mode.
Maj7, Min7, Min7, Maj7, Dom7, Min7, Min7Flat5.
Some of the really neat phrases I hear some of the jazz guys using (Metheny, Benson, Jackson Jr.) are just arpegios and pentatonics played like arpegios.
You can build modes and chord traids off the other scales also but if you can't play that major scale anywhere on the next without thinking about it I would recommend focusing on it for the moment.

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