Extremist

A Technical, Practical,
Philosophical, and
Spiritual look into
Music, Scales and the
Guitar.

By Joses
Go from Advanced to Extremist

Go fromAdvanced to Extremist

Copyright 2013 Joses Gosper

Entire Contents Copyright 2012 by Joses Gosper
Copyright under the Copyright Act 1968

First Published 2008

All rights reserved. No part of this publication may be reproduced, stored in a retrieval systemor transmitted in any
formor by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written
permission of the author.

All Material and Subject Matter in this Publication was written and compiled by Joses Gosper, and is the Intellectual
Property of Joses Gosper.

Go fromAdvanced to Extremist is the Intellectual and Physical Property of Joses Gosper.

The information, views, opinions and visuals expressed in this publication are solely those of the author and do not
reflect those of the publisher. The publisher and the author disclaims any liabilities or responsibilities whatsoever for
any damages, libel or liabilities arising directly or indirectly fromthe contents of this publication.

All images are the property of the respective copyright owners.
Straight Eight symbol copyright Joses Gosper

This publication is Not For Sale

Published by Blak Soil Publications
Perth, Western Australia

v1.3

Copyright 2013 J oses Gosper
1

Always play for yourself; for if you play for
others then inevitably you will begin to
worry about their opinions; if they thought
your performance was entertaining and
met their expectations.
- Joses

2

Contents

About this Book (6)

Overture (7)

Guitar Players are more Special (11)

The Theory of Theory (13)

Spelling by Numbers (14)

Spanish Names (15)

Diatonic Scales and Modes (16)

Synthetic Scales and Modes (18)

Symmetrical Scales and Modes (30)

Octatonic Scales and Modes (32)

3

Nonatonic Scales and Modes (36)

Hexatonic Scales and Modes (38)

Pentatonic Scales and Modes (40)

A New Level (44)

A story about Learning (45)

For the Love of the Instrument (48)

Who Am I to tell You? (50)

The Universal Language (53)

Chords Synchronization (55)

Dyad Chords (55)

Triad Chords (56)

4

Sixth Chords (57)

Seventh Chords (59)

Added Ninth Chords (62)

Ninth Chords (63)

Altered Ninth Chords (64)

Eleventh Chords (66)

Thirteenth Chords (68)

My List (70)

Where to from here? (72)

Books in this Trilogy (73)

5

About this Book

To maximize the utilization of this Book it
is expected that the Reader will already
have a basic knowledge of Music
Terminology, Music Notation, and Guitar
Tablature; and also a solid understanding
of relevant Industry Standard Guitar
graphical representations.

This Book does not specifically explain the implementation, common
practices, and the relevancy of the within documented Chords and Scales,
either their relationship to one another or their individual stature.

6

Overture

I have wanted to write this book for many years; in fact, it has been written
for many years, but never compiled. The idea of this book, along with
others in and out of this series, is to help fast-track the Musician; to be able
to compress information in order to learn theoretical ideas and practical
applications in months, and not years. This originally intended to be a book
on Scales only, but was expanded to cover a few deeper principals of Music
and namely the Guitar.

After completing a Diploma in music, and persisting with extensive study
in Flamenco, Classical and Jazz, I came to realize the importance of the
Scale to Chord relationship; I also began to notice my own limitations with
the two. So one day I decided to draw up a chart listing all possible
Chords, each with a subsidiary list of Scales that were in Harmony with the
relevant Chord's genetic build as defined by the 3rd, and where applicable,
the 7
th
, whether Major, Minor, Diminished, etc, etc. However, I found that
when I went outside of Diatonic Chord Harmony there were too many
Scales to list on the chart.
Since I had not found a book at that point in my life that listed all the
Chords and Scales in simple chart format, I decided to write one myself.
I hope this Book will be an asset to all Musicians, not just Guitarists.

At the onset, I will say that if youre a beginner then this Book maybe more
of a hindrance rather than a helpful device to the player who is taking their
first steps in the Music World, if used incorrectly; but I still recommend
reading the entire book anyway, in the 'light' of inspiration. Even many
Intermediate players will have a hard time contending with some of the
concepts.

7

You must try to look past being overwhelmed and discouraged; look past
your fear of finding out how much you don't know.
As with life, it is always good to keep having the fact being put in front of
you that;

There is no end to Knowledge;
There is no such point that an Individual arrives at
where there is no more knowledge to be gained'.

If you are more of a strummer than a picker then this book can still open
your mind to new ideas, since all Chords derive their genetic code from
Scales.
Scales will open your mind to different styles of music, and give you a
better appreciation for whats involved in those styles. The Scale is the
mathematical foundation for all music.

Blues Fusion Pop
Classical R n' B Thrash
Hip-Hop Choir Flamenco
Heavy Metal Death Metal Rock n' Roll
Funk Jazz Rap
Gospel Country

I hope this Book will bring the Reader to a better understanding of all
Music, and in the process, maybe even a better understanding of
themselves, as Music can reveal many mysteries of the Human Spirit.

8

Whether or not the Reader continues on with Music is not as important as
finding out what they can achieve with their Minds, and with their
Imaginations in anything they do.

This Book will not just be another regular learning tool, but a study of
many different and varied subjects outside the normal; 'normality' as
define by the actions of the majority.

Contained within music studies are many different fields. Eg;

Mathematics

All written Music contains Mathematics, in fact Music Notation is
written Mathematics. And when we play or sing music we have an
internal clock that is continually counting beat and keeping time.

Geography

Where music came from, and what styles came from what Countries.
European, African, and Western Styles are all different, from the
diversity of Sound to the Atmosphere they produce.

History

Music is as old as Human Beings, and has long been a medium for
expression and communication since forever. Music can tell us a lot
about a certain era, culture, or race of people.

Culture and Race

Every culture has its own music and style of music; and as new
cultures are created so are new styles of music modern cultures
within the Western World are changing very fast.

9

Language

Most musical terms are Latin, Italian or Greek. Most of the English
language has links to these old languages; a little history in language
should be covered by all Musicians.

Creativeness

All people need to be able to express themselves!
The creative side of a person needs to be explored!
It is my hope that the Reader will not necessarily continue on to
become great musicians, but will leave with a knowledge that they
can be creative in whatever they do, whether they are an office
worker or a sportsperson, etc, etc.

The Reader will come away with a deeper understanding of the world and
how music plays, and has played a part in its shaping, for better or worse.
Hopefully, the Reader continues on with music, if even just as a hobby.

10

Guitar Players are more Special

I personally believe that the Guitar is, by great length, the most expressive
Instrument that has ever been created. Apart from being able to do what
most other Melodic Instruments can do (play Bass, and play Harmony and
Melody at the same time), and also do what some Percussive Instruments
can, the Guitar can better this with the ability to bend, stretch and slide
between Notes, and create micro tones; with the advantage of smooth
sliding between Notes; with the expansion of being able to play Unison
Notes some Notes of the same Pitch up to 6 times.

The Guitar is second only to the
Human Voice in its expressive abilities,
but in some regards it exceeds even the
Human Voice. However, Guitar
Players are not above the Law. Guitar
Players have a reputation amongst
Musicians of other Instruments as
being a bit Cocky, a bit Arrogant, and a
little Selfish, and the sad news is that
this reputation is warranted. Guitarists
seem to think they are the exception,
that they dont need Music Theory. Almost every Guitarist Ive met is
arrogant; the moment you say you play as well, they get defensive and go
into challenge mode have you heard of this Guitar Player?, and it doesnt
matter how long youve been playing for because theyve been playing for
at least five years more according to them. Then theres the old clich
Hendrix didnt read Music.

You are neglecting your right to be informed by not knowing the whole
story, and missing out on a part Music that is equally as important, and
equally as enjoyable as Playing music by not learning at least basic Music
Theory.

11

Some Guitarists will boast that they learnt by ear Big Deal!
Musicians of all Instruments learn by ear!

With a good Theoretical Knowledge of Music a Guitar Player can double
the speed of learning this includes all aspects of being a Musician. Most
Guitarists will have to put aside childish thinking in order to go from
Advanced Guitarist to Extreme Guitarist. Enough Said!

Master Your Theory Dulcie Holland
Recommended Study

12

Recommended Reading
The Theory of Theory

The Way of the Intercepting Fist

Jeet Kune Do was Bruce Lees own approach to fighting and philosophy on
Life He was true in saying that, fighting is fighting!

E.g.
If you were thrown into a Cage Fight with some huge killing
machine Man, and it was a fight till the death, the last thing on your
mind is which style of fighting you should use. Youre not going to
be thinking if you should be doing Karate, Boxing, or Wrestling, etc,
etc; youre going to do whatever is required to be the person who
walks out of the Cage.

Bruce Lee came to the realization early in his life that fighting was beyond
Theory and Technique; there needs to be Revelation in the Mind and Spirit.
He absolutely believed in learning the Theory and Technique, but knew
that to get to the Upper Levels you have to forget all you know and trust
that it will happen automatically.

Before you start questioning whether this
Book is about Fighting or Music, have a
think about the point Im trying to make.
The Guitar Player must learn good
Theory and Technique so that he/she can
be free of it. Also, like the Jeet Kune Do
principle of adaptation, the Guitarist must
also become what is necessary for the
Sound and Song; more or less than what
is needed for the message to be perfect
would result in the message being
compromised!

13

Spelling by Numbers

When Scales and Chords are written out as Formula, they are recorded as
Numeric Characters; this is called Spelling by Numbers
. These Numbers
correspond with the Scale Degree; with the Tonic always being Number 1.
If a Note is required to be Flattened (b) or Sharpened (#), then the
Scale/Chord Degree Number will be accompanied by the appropriate
Accidental, which is always written in front of the Degree Number (as it is
spoken).

Figure 1.1 shows the Degree numbers in the Key of A.

Figure 1.1

The following example is an A Melodic Minor Scale within a common two
octave Guitar Box Pattern (including the slight extension into the 3
rd

Octave):

14

Spanish Names

Well over half of the Scales and Modes in this Book have never been
named, so Ive improvised.

Ive used Spanish Numeric Names to give the unnamed an identity:

Cero [thairo] (0)
Uno [oono] (1)
Dos [dos] (2)
Tres [tress] (3)
Cuatro [kwatro] (4)
Cinco [theenko] (5)
Seis [say-eess] (6)
Siete [s-yaytay] (7)
Ocho [ocho] (8)
Nueve [nwaybay] (9)
Diez [d-yeth] (10)

15

Diatonic Scales and Modes

The standard Diatonic set of Scales and Modes are seven Notes in length,
and forms the Basis of basic Diatonic Chord Harmony.
The C Major Scale is dominant in the Western Worlds understanding of
Sound as Music.

Only when we forget the Major Scale can we utilize it to its full potential.

1) Major Scale / Ionian Mode

1, 2, 3, 4, 5, 6, 7,

2) Dorian Mode / Japanese Hyojo Scale / Japanese Oshikicho Scale

1, 2, b3, 4, 5, 6, b7,

3) Phrygian Mode / Raga Hanumat Todi Scale / Bhairavi Raga Scale

1, b2, b3, 4, 5, b6, b7,

4) Lydian Mode

1, 2, 3, #4, 5, 6, 7,

5) Mixolydian Mode / Japanese Scale

1, 2, 3, 4, 5, 6, b7,

16

6) Minor Scale / Natural Minor Scale / Aeolian Mode

1, 2, b3, 4, 5, b6, b7,

7) Locrian Mode

1, b2, b3, 4, b5, b6, b7,

17

Synthetic Scales and Modes

Some people call these Scales Polyscales, because like Polychords they can
be seen as a combination of two different entities. They might start as one
Scales, and then, halfway through they will change to another.

1. Harmonic Minor Scale / Mohammedan Scale

1, 2, b3, 4, 5, b6, 7,

2) Locrian #6 Mode

1, b2, b3, 4, b5, 6, b7,

3) Ionian Augmented Mode

1, 2, 3, 4, #5, 6, 7,

4) Dorian #4 Mode / Roumanian Minor Scale

1, 2, b3, #4, 5, 6, b7,

5) Phrygian Dominant Mode / Jewish Ahaba Rabba Scale /
Spanish Gypsy Scale
1, b2, 3, 4, 5, b6, b7,

6) Lydian #2 Mode

1, #2, 3, #4, 5, 6, 7,

18

7) Super Locrian b7 Mode

1, b2, b3, b4, b5, b6, bb7,

1) Jazz Melodic Minor Scale / Hawaiian Scale

1, 2, b3, 4, 5, 6, 7,

2) Dorian b2 Mode / Javaneese Scale

1, b2, b3, 4, 5, 6, b7,

3) Lydian Augmented Mode

1, 2, 3, #4, #5, 6, 7,

4) Lydian b7 Mode / Brazilian Scale / Lydian Dominant Mode

1, 2, 3, #4, 5, 6, b7,

5) Mixolydian b13 Mode / Hindu Scale / Hindustan Scale /
Aeolian Dominant Mode

1, 2, 3, 4, 5, b6, b7,

19

6) Locrian #2 Mode

1, 2, b3, 4, b5, b6, b7,

7) Super Locrian Mode / Altered Scale

1, b2, b3, b4, b5, b6, b7,

1) Double Harmonic Scale / Byzantine Scale / Hungarian Gypsy Persian Scale

1, b2, 3, 4, 5, b6, 7,

2) Minor #11 Mode

1, b3, 3, #4, 5, b7, 7,

3) Tres Mode

1, b2, b3, 3, 5, b6, 6,

4) Hungarian Minor Scale

1, 2, b3, b5, 5, b6, 7,

5) Cinco Mode

1, b2, 3, 4, b5, 6, b7,

20

6) Seis Mode

1, b3, 3, 4, b6, 6, 7,

7) Siete Mode

1, b2, 2, 4, b5, b6, 6,

1) Harmonic Major Scale

1, 2, 3, 4, 5, b6, 7,

2) Dorian Diminished Mode

1, 2, b3, 4, b5, 6, b7,

3) Phrygian b4 Mode

1, b2, b3, b4, 5, b6, b7,

4) Lydian b3 Mode

1, 2, b3, #4, 5, 6, 7,

5) Mixolydian b2 Mode

1, b2, 3, 4, 5, 6, b7,

21

6) Lydian Augmented #2 Mode

1, #2, 3, #4, #5, 6, 7,

7) Locrian b7 Mode

1, b2, b3, 4, b5, b6, bb7,

1) Neapolitan Scale

1, b2, b3, 4, 5, 6, 7,

2) Dos Dos Mode

1, 2, 3, #4, #5, #6, 7,

3) Dominant Augmented Mode

1, 2, 3, #4, #5, 6, b7,

4) Dos Cuatro Mode

1, 2, 3, #4, 5, b6, b7,

22

5) Arabian Major Scale

1, 2, 3, 4, b5, b6, b7,

6) Dos Seis Mode

1, 2, b3, 3, #4, #5, #6,

7) Dos Siete Mode

1, b2, 2, 3, #4, #5, #6,

1) Neapolitan Minor Scale

1, b2, b3, 4, 5, b6, 7,

2) Lydian #6 Mode

1, 2, 3, #4, 5, #6, 7,

3) Mixolydian #5 Mode

1, 2, 3, 4, #5, 6, b7,

4) Aeolian #4 Mode

1, 2, b3, #4, 5, b6, b7,

23

5) Oriental Scale

1, b2, 3, 4, b5, b6, b7,

6) Ionian #2 Mode

1, #2, 3, 4, 5, 6, 7,

7) Tres Siete Mode

1, b2, 2, 3, #4, #5, 6,

1) Minor Blues add3 Scale

1, b3, 3, 4, b5, 5, b7,

2) Cuatro Dos Mode

1, b2, 2, b3, 3, 5, 6,

3) Cuatro Tres Mode

1, b2, 2, b3, #4, #5, 7,

4) Cuatro Cuatro Mode

1, b2, 2, 4, 5, b7, 7,

24

5) Cuatro Cinco Mode

1, b2, 3, #4, 6, b7, 7,

6) Minor Aug Mode

1, b3, 4, #5, 6, b7, 7,

7) Cuatro Siete Mode

1, 2, 4, #4, 5, #5, 6,

1) Enigmatic Scale

1, b2, 3, #4, #5, #6, 7,

2) 2 Minor Scale

1, b3, 4, 5, 6, b7, 7,

3) Cinco Tres Mode

1, 2, 3, #4, 5, b6, 6,

4) Dom Dim Mode

1, 2, 3, 4, b5, 5, b7,

25

5) Cinco Cinco Mode

1, 2, b3, 3, 4, #5, #6,

6) Cinco Seis Mode

1, b2, 2, b3, #4, #5, #6,

7) Cinco Siete Mode

1, b2, 2, 4, 5, 6, 7,

1) Marva Raga Scale

1, b2, 3, 4, b5, 6, 7,

2) Seis Dos Mode

1, #2, 3, 4, b6, b7, 7,

3) Seis Tres Mode

1, b2, 2, 4, 5, b6, 6,

26

4) Seis Cuatro Mode

1, b2, 3, #4, 5, b6, 7,

5) Half Dim Scale

1, b3, 4, b5, 5, b7, 7,

6) Seis Seis Mode

1, 2, b3, 3, 5, b6, 6,

7) Seis Siete Mode

1, b2, 2, 4, b5, 5, b7,

1) Persian Scale

1, b2, 3, 4, b5, b6, 7,

2) Siete Dos Mode

1, #2, 3, 4, 5, #6, 7,

3) Siete Tres Mode

1, b2, 2, 3, 5, b6, 6,

27

4) Siete Cuatro Mode

1, b2, b3, #4, 5, b6, 7,

5) Siete Cinco Mode

1, 2, 4, b5, 5, #6, 7,

6) Siete Seis Mode

1, #2, 3, 4, #5, 6, b7,

7) Siete Siete Mode

1, b2, 2, 4, b5, 5, 6,

1) Hungarian Scale

1, #2, 3, #4, 5, 6, b7,

2) Ocho Dos Mode

1, b2, b3, 3, #4, 5, 6,

3) Ocho Tres Mode

1, 2, b3, 4, b5, b6, b7,

28

4) Ocho Cuatro Mode

1, b2, b3, 3, #4, 6, b7,

5) Minor Major Aug Scale

1, 2, b3, 4, #5, 6, 7,

6) Ocho Seis Mode

1, b2, b3, #4, 5, 6, b7,

7) Ocho Siete Mode

1, 2, 4, b5, b6, 6, 7,

29

Symmetrical Scales and Modes

Some people call these Scales Symmetrical Altered Scales, because they fit
well over Altered Chords. They have a reoccurring pattern between Degree
Numbers. Some of these Scales and Modes have the same Interval between
each Scale Degree, while others have one and one, meaning they have one
Interval between the first and second Degree Numbers and a different
Interval between the second and third Degree Numbers, and then both
Intervals are continually repeated.

Chromatic Scale

1, b2, 2, b3, 3, 4, b5, 5, b6, 6, b7, 7,

1) Dim Whole Half Scale / Arabian Minor Scale

1, 2, b3, 4, b5, b6, 6, 7,

2) Dim Half Whole Scale / Symmetrical Scale

1, b2, b3, b4, b5, 5, 6, b7,

30

Whole Tone Scale

1, 2, 3, #4, #5, #6,

1) Augmented Scale / Augmented Six Tone Scale

1, #2, 3, 5, #5, 7,

2) Nueve Dos Mode

1, b2, 3, 4, #5, 6,

31

Octatonic Scales and Modes

There are a variety of Octatonic Scales and Modes, and there application is
just as varied. My alias for these types of Scales is Dark Chocolate; you
know how Dark Chocolate is very rich and tastes good, but theres only so
much you can have before it becomes sickening?
These Scales have applications, but be careful and tasteful in such.

1) Algerian Scale

1, 2, b3, 4, #4, 5, b6, 7,

2) Once Dos Mode

1, b2, b3, 3, 4, b5, b6, 7,

3) Once Tres Mode

1, 2, b3, 3, 4, #5, 6, 7,

4) Once Cuatro Mode

1, b2, 2, b3, #4, 5, 6, b7,

5) Once Cinco Mode

1, b2, 2, 4, b5, b6, 6, 7,

32

6) Once Seis Mode

1, b2, 3, 4, 5, b6, b7, 7,

7) Once Siete Mode

1, #2, 3, #4, 5, 6, b7, 7,

8) Once Ocho

1, b2, b3, 3, #4, 5, b6, 6,

1) Jazz Bebop Scale

1, 2, 3, 4, 5, 6, b7, 7,

2) Dorian addb6 Mode

1, 2, b3, 4, 5, b6, 6, b7,

3) Phrygian addb5 Mode

1, b2, b3, 4, b5, 5, b6, b7

4) Japanese Ichikotsucho Scale

1, 2, 3, 4, b5, 5, 6, 7,

33

5) Dorian add3 Mode

1, 2, b3, 3, 4, 5, 6, b7,

6) Jewish Adonai Malakh Scale

1, b2, 2, b3, 4, 5, b6, b7,

7) Lydian addb2 Mode

1, b2, 2, 3, #4, 5, 6, 7,

8) Locrian add7 Mode

1, b2, b3, 4, b5, b6, b7, 7,

1) Purvi Raga Scale

1, b2, 3, 4, b5, 5, b6, 7,

2) Doce Dos Mode

1, b2, 3, 4, b5, 5, b6, 7,

34

3) Doce Tres Mode

1, b2, 2, b3, 3, 5, b6, 6,

4) Doce Cuatro Mode

1, b2, 2, b3, #4, 5, b6, 7,

5) Doce Cinco Mode

1, b2, 2, 4, b5, 5, b7, 7,

6) Doce Seis Mode

1, b2, 3, 4, b5, 6, b7, 7,

7) Doce Siete Mode

1, b3, 3, 4, #5, 6, b7, 7,

8) Doce Ocho Mode

1, b2, 2, 4, b5, 5, b6, 6,

35

Nonatonic Scales and Modes

1) Japanese Taishikicho Scale

1, 2, 3, 4, #4, 5, 6, b7, 7,

2) Diez Dos Mode

1, 2, b3, 3, 4, 5, b6, 6, b7,

3) Diez Tres Mode

1, b2, 2, b3, 4, b5, 5, b6, b7,

4) Diez Cuatro Mode

1, b2, 2, 3, 4, b5, 5, 6, b7,

5) Diez Cinco Mode

1, b2, b3, 3, 4, b5, b6, b7, 7,

6) Diez Seis Mode

1, 2, b3, 3, 4, 5, 6, b7, 7,

36

7) Diez Siete Mode

1, b2, 2, b3, 4, 5, b6, 6, b7,

8) Diez Ocho Mode

1, b2, 2, 3, #4, 5, b6, 6, 7,

9) Diez Nueve Mode

1, b2, b3, 4, b5, 5, b6, b7, 7,

37

Hexatonic Scales and Modes

1) Major Blues Scale

1, 2, b3, 3, 5, 6,

2) Trece Dos Mode

1, b2, 2, 4, 5, b7,

3) Trece Tres Mode

1, b2, 3, b5, 6, 7,

4) 2 Minor Aug Mode

1, b3, 4, #5, b7, 7,

5) Trece Cinco Mode

1, 2, 4, 5, b6, 6,

6) Minor Blues Scales

1, b3, 4, b5, 5, b7,

38

1) Catorce Uno Scale

1, b3, 4, #5, 6, b7,

2) Catorce Dos Mode

1, 2, 4, b5, 5, 6,

3) Catorce Tres Mode

1, #2, 3, 4, 5, b7,

4) Catorce Cuatro Mode

1, b2, 2, 3, 5, 6,

5) Raga Todi Scale

1, b2, b3, #4, b6, 7,

6) Catorce Seis Mode

1, 2, 4, 5, #6, 7,

39

Pentatonic Scales and Modes

1) Major Pent Scale / Chinese Mongolian Scale

1, 2, 3, 5, 6,

2) Egyptian Scale / Vietnamese Scale

1, 2, 4, 5, b7,

3) 3 Minor Aug Mode

1, b3, 4, #5, b7,

4) Sus Six Mode

1, 2, 4, 5, 6,

5) Minor Pent Scle

1, b3, 4, 5, b7,

1) Major Dim Scale

1, 3, b5, 6, 7,

40

2) Asavari Raga Scale / Japanese Scale (2)

1, 2, 4, 5, b6,

3) Kumoi-type Scale

1, b3, 4, b5, b7,

4) Minor Six Mode

1, 2, b3, 5, 6,

5) Dom Sus b9 Mode

1, b2, 4, 5, b7,

1) Japanese Scale / Japanese Kumoijoshi Scale

1, b2, 4, 5, b6,

2) Chinese Scale / Hirajoshi-type Scale

1, 3, #4, 5, 7,

3) Quince Tres Mode

1, 2, b3, 5, b6,

41

4) Dom Sus Dim b9 Mode

1, b2, 4, b5, b7,

5) Quince Cinco Mode

1, 3, 4, 6, 7,

1) Indian Scale

1, 3, 4, 5, b7,

2) Diecieis Dos Mode

1, b2, b3, #4, #5,

3) Major Sus Mode

1, 2, 4, 5, 7,

4) Diecieis Cuatro Mode

1, b3, 4, 6, b7,

5) Diecieis Cinco Mode

1, 2, #4, 5, 6,

42

1) Balinese Scale

1, b2, b3, 5, b6,

2) Diecisiete Dos Mode

1, 2, #4, 5, 7,

3) Diecisiete Tres Mode

1, 3, 4, 6, b7,

4) Japanese b5 Scale

1, b2, 4, b5, b6,

5) Pelog-type Scale

1, 3, 4, 5, 7,

43

A New Level

Beyond all the above mentioned Scales is the
virtual unknown province of Two Octave Scales;
very little is known and written about them.
Many Guitar Players are unknowingly walking
the fine Line of Two Octave Scales already; but
with a little theoretical knowledge they can
expand on their existing skills. Some people will
argue that two Octave Scales are nothing more
than playing another separate Scale once you
move into the second Octave; but can the same
people argue that 9th, 11th, and 13th Chords are
nothing more than one Chord stacked on top of
one another?
Remember this always, Music Theory is not an
exact science; it is a great base foundation for full
creative exploration, but you can never take
something that is a Medium of the soul and
completely recreate it on paper.
Anyway, if the second Octave in a Two Octave Scale begins on the Tonic
then we could assume that it probably is the beginning of another Scale
and not really a Two Octave Scale; unless it reverts back to the original
Scale on your way back down through the first octave. However, if the first
Note of the second Octave in a Two Octave Scale does not begin on the
Tonic, then it is probably more of a true Two Octave Scale; especially if it
reverts back to the original Scale on your way back down through the first
octave.
More than both of the above mentioned two ways of identifying Two
Octave Scales is the following; if the second Octave in a Two Octave Scale
does not begin on the Tonic nor does it have any of the same Scale Degree
Notes as in the first Octave, then it can be called a True Two Octave Scale
this is similar to the Theory of big Chords; 9th, 11th, 13th, and 15th, etc.

44

A story about Learning

When I was 15 years old I left High School; which was
in fact one of two choices presented to me by the
school Principal; the other choice being expulsion. So I
left boarding school and went back to my hometown
of 400 people.

Being illiterate and unemployed, I soon found
comfort in an old Yamaha Acoustic Guitar that my
father had owned since he was young; and that's
when I really began to clock up some serious hours on
the Instrument. Unfortunately, there was no others in
such a small town that played not only Guitar, but
any other Instruments, so guidance was absent in my
progress.

At this stage in my life the band Metallica was my main influence, and one
day while visiting another town I came across a book called 5 of the Best -
Metallica; I borrowed $20 and brought it. The book had the songs, Master of
Puppets, Creeping Death, One, Seek & Destroy, and Fade to Black, and
presented me with an opportunity to study and learn some of the most
influential music and people at that stage in my life.

What I did not realize at that time is that these five songs are considered to
be hard-to-learn by beginning Guitar players; a realization that eluded me
due to my isolation from the rest of the musical world.
I learnt these songs Acoustically, almost in full, before later managing to
buy a generic brand electric Guitar and then having the option play all
notes and in the correct cosmetic tone.

Over the next few years as I began to socialize with other Guitarists as they
passed through my hometown; many of them would comment on my
abilities, especially those who were familiar with the 5 Metallica songs; but

45

even those who didnt know those songs were impressed with my
technique and knowledge which they didn't realize was a product of those
5 songs techniques and knowledge that I had now rolled it over to other
songs and musical ideas.

I was puzzled as to why people believed
that I was such an exceptional Guitarist,
as I merely thought that I was simply
playing music that surely any reasonable
Guitarist could play.
Today, I know the answer to the abilities
that others found fascinating in my
youth!

The reason I was able to learn those five
songs is simply because I had no
knowledge of how hard they should
have been to learn; I had no influence
from people telling me that those songs
were too hard for a beginner; I merely
thought that if one was to play Guitar
then they would need to simply play
with such abilities.

Simply put, my learning psychology was not negatively influenced by
other peoples limitations that they had set in their own subconscious
mind. This was purely by chase due to my physical isolation away from
the rest of the world; but proves a point and teaches a lesson about the
power of the mind, and more specifically how such power can be hindered
or enhanced by other peoples opinions and influence or the lack of other
peoples opinions and influence.

Sometimes the best intentions within guidance can create the greatest
obstacle within learning!
Recommended Reading

46

Metallica
Recommended Listening

Remembering, that Computers, the Internet, Mobile Phones, and Cable
Television was absent from homes in 1993; and combine this with a small
isolated town with a population of 400 people of which none are musically
inclined, and a Newsstand with limited reading material, and the
stubbornness of youth which can work for and against an individual, and
the full picture of my musical isolation becomes extremely evident.
This is not to say that the above mentioned 'devices', namely the lack of
such devices, can improve learning; in fact, the Learner should take
advantage of any and all devices; but the Learner must filter such content
very carefully as to not introduce negativity into the subconscious that
would seem to be presented with good intent.

47

For the Love of the Instrument

It was Said Long Ago;

In the Last Days many False Guitarists will Rise.

How do we recognize false Guitarists?
False Guitarists are quite easy to identify; they are those who;

believe their Style of Music that they play is the best Style.

believe Music Theory is a waste of time, and that reading Music is
worthless.

hide behind Rock Music clichs like Tattoos, Black Clothing, Long
Hair, Drugs, and Tainted Language.

idolize and worship unworthy Guitarists and try to convince others
to do the same.

believe that the quality of Playing is determined by Speed alone.

believe that Fifth Chords are not legitimate; or the opposite, and
believe you only need to know Fifth Chords.

believe you have to use every Scale and Mode you can in a Solo.

parade around with a Guitar strapped to their back but never Play it.

believe that the Six String has been exhausted and need to move to
more strings; or the opposite, and believe that more strings is not
valid. Etc, etc

48

There is nothing wrong with loving the Style you Play, or not having as
much knowledge as others, or having Tattoos, or the Clothes you wear, or
enjoying the Music of the Great Guitarists, or the thrill of Shredding, or the
versatility of the Fifth Chord, or the knowledge and applications of
standard and exotic Scales. The problem begins when;

we refuse to, or dont know how to learn more about the instrument.

we keep trying to Play, and dont just Play.

we reject the fact that, theres not all these different styles and ways
of Playing Guitar, there is just Playing the Guitar!!!

we snub other people ideas and teachings about the Guitar.

we box ourselves, or others into categories or stereotypes to keep
control.

Dedication to enhancing yourself on the Guitar does not involve Sacrifice,
it involves Passion; it is a Medium for the Soul to speak through.

THERE IS NO GUITAR PLAYER THAT IS DEAD, THAT IS LIVING, AND
THAT IS TO COME THAT CAN PLAY ANY BETTER THAN YOU.
IF YOU REALY WANT IT, YOU WILL HAVE IT!!!

49

Who Am I to tell You?

Im just a Person sharing his knowledge and self discoveries in regards to
Music; in hope of fast-tracking others who have the same desire and
passion to want to see the complete Musical picture.

My name is Joses Gosper.
I was born in Carnarvon, Western Australia,
in 1977.

I was first attracted to Music at a very early
age, having seen my Father play Guitar on a
few occasions around our family home. He
had a Yamaha Acoustic Guitar which was
old even when I was young. It had a
beautiful sound, and on odd occasions I
would have a mess-around on it. As the
years rolled over the old Guitar slowly
changed hands and became mine, which I
still have to this day.

Fewer times than my meaningless Guitar
playing was my Keyboard playing, which
was done on a cheap keyboard my Father
had brought in the late 80s. My Father was
heavily into Creedence Clearwater Revival, and
just as John Fogerty had greatly influenced
my Father, I too was in awe of Fogertys
abilities on the Guitar. I would sneak out of
the house and hide in the family car, and
play Creedence tapes for hours at a time.

Yamaha Acoustic Guitar
Recommended Playing

50

I never really started Playing
Guitar on a fundamental basis
until High School, when I went
away to Boarding School. In my
fourth and final year of High
School at age 15, my two drug
addict roommates got me back into
the Guitar (and luckily nothing
more). They both had Guitars and
allowed me to use them whenever
I pleased, as I could not afford
one. At this stage in my life there
were two main influences that
guided my Guitar exploration and
musical growth, firstly Guns N
Roses, and secondly Metallica.

Sometimes strange, is how our music intake affects us; though I favoured
Guns N Roses to listen to, I preferred to learn Metallica songs on the
Guitar.

I was drawn to the particular technique on the Guitar that the Guys from
Metallica were utilizing; not necessarily the style of Music; though the style
did grow on me as the years went past.
I loved the technical aspect of James Hetfeilds and Kirk Hammets Playing
(the two guitar players in Metallica), and the way they attacked the strings.
There was one part in one song in particular that really fascinated me, and
that was the Intro to a Metallica song called One. The first time I heard the
Intro it was like a Revelation; a new connection in my mind; I became
aware of the beauty the came with simplicity. A great combination of
single Note Rhythm and smooth melodic Lead, as only Metallica can.
Although the whole song is awesome, I would just listen to the Intro over
and over.

Guns N Roses
Recommended Listening

51

When I turned 17 I brought my first Electric Guitar, and six months latter I
brought my first Music Book called 5 of the Best - Metallica; the book
contained 5 five songs obviously! It took me about a year on my own to
learn the Songs in their entirety. The great thing about these five particular
Songs is the diversity in style, technique, and phrasing. Contained within
these 5 Songs are Classical styles and intriguing Finger Picking techniques,
and the use of many exotic and common Scales and Modes, and an
assortment of plectrum offensive skills by Hetfield that are second to none.
Im not sure if Cherry-lane Music still publishes the Book, but its a necessity
to any Musical Library.

In 1999 at age 20, I moved to the city of Perth, Western Australia to Study
Music. After four years of Study I received a Diploma in Performing Arts
and my Certificate Four in Music, which served as a great foundation on
which to do further studies. During this time I also did Jazz Guitar studies
with a brilliant Jazz Fusion Guitar player from Perth, and Flamenco Guitar
with another. I would practice up till 12 hours a day whenever possible,
but always did at least 5 hours a day. I did many hours a week on Aural
Training, and studies on Tone and Pitch. My certificates in music were only
about 15% of my theoretical and general Musical knowledge, as the other
85% I sought out on my own.

A few years after my studies I started teaching music at
a Private Music College, where my speciality become
Music Theory. I was a Lecturer for 3 years, teaching
Music Theory, Styles, Band Rehearsals, Aural Training,
etc, etc. I also studied the Drums for a few years during
this time, and some Piano, Bass Guitar, and Vocals.

Ive since taught Music on a full-time basis in Primary
Schools and Prisons, and also countless Private Lessons.

Since 2000 I've kept low doing mostly Session Work on a
variety of Albums and Songs by different local Artists,
and toying around with my own musical projects.

52

The Universal Language

Music is the most common link
between all Cultures, Races,
Countries and Individuals past and
present. Like the New World, like
strange exotic Animals, like distant
Suns and Atoms; like these things
Notes, Scales, Chords, Keys
Signatures, Time Signatures and
Rhythm all existed before they were
known of.

Sound being the Father of Music!

It is written that the Heavens and the Earth were spoken into existence;
now, whether or not you believe this is irrelevant, it proves that the
ancients believed in the power of speech, of sound - that it could Create.

X Vibration Sound Tone & Pitch Music

Vibration is a Governing ingredient
in the Equation of the Universe.

The Human Body Organs (especially
the Brian) run on a certain amount of
energy vibration (about 70
Megahertz).

One of the theories in Quantum
Mechanics is call String Theory it is
the belief that All that exists is made
up of small vibrating strands of
Energy call Strings.
The Simpsons
Recommended Viewing

53

Indian and other Cultures that believe in Chakras and Auras believe
that they can be stimulated through the different vibrations of Sound.

Sound is a perpetual entity of different pitches we say that
the pitch of middle Note A vibrates at 440Hz. So, what about
441Hz or 439Hz, are they simply an A Note thats a little
sharp or flat?
Modern Music Theory would have you saying Yes, but the
true answer is No! Every single degree of Pitch as measured
in Hertz is unique in its own right, and not just an anomaly of
another.

Every single Hertz Degree of Sound stimulates the Heart,
Mind, Body, Soul, and Spirit in a different way. Sound is ever
present, because Vibration is ever present. There is never a
time off Silence, as Silence does not exist; it is only that the
Human Ear has limitation as to what it can Hear.

The Governing qualities of Sound;

Pitch, Tone, Tambour, Volume

It is quite strange; there was a time when
Volume was believed to be solely a product
of Vibration, namely how aggressive or
tame the Vibration was. With James Clark
Maxwells combining on Electricity and
Magnesium in the 1800s Electromagnetism
(EM); amongst many Revelations it
conceived, it also changed the way Volume
was produced. Nothing can be seen to
embody Electromagnetism more than the
Electric Guitar for obvious reasons.

54

Chords Synchronization

Dyad Chords

Major Dyad (M)
1, 3,

Minor Dyad (m)
1, b3,

Augmented Dyad (+ or #5)
1, #5,

Diminished Dyad ( or dim)
1, b5,

Suspended Fourth Dyad (sus or sus4)
1, 4,

55

Triad Chords

Major Triad (M)
1, 3, 5,

Minor Triad (m)
1, b3, 5,

Augmented Triad (+ or #5)
1, 3, #5,

Diminished Triad ( or dim)
1, b3, b5,

Suspended Fourth Triad (sus or sus4)
1, 4, 5,

Suspended Second Triad (sus2)
1, 2, 5,

56

Sixth Chords

Sixth (6)
1, 3, 5, 6,

Minor Sixth (m6)
1, b3, 5, 6,

Sixth Nine (6/9)
1, 3, 5, 6, 9,

Minor Sixth Nine (m6/9)
1, b3, 5, 6, 9,

Sixth Seven (6/7)
1, 3, 5, 6, b7,

Minor Sixth Seven (m6/7)
1, b3, 5, 6, b7,

57

Sixth Seven Suspended (6/7sus)
1, 4, 5, 6, b7,

Minor Sixth Seven Eleven (m6/7/11)
1, b3, 5, 6, b7, 11,

Sixth Augmented Five (6#5 or 6+5)
1, 3, #5, 6,

58

Seventh Chords

Major Seventh (maj7 or ^)
1, 3, 5, 7,

Dominant Seventh (7)
1, 3, 5, b7,

Minor Seventh (m7)
1, b3, 5, b7,

Diminished Seventh (dim7 or 7)
1, b3, b5, bb7,

Suspended Seventh (7sus or 7sus4 or 7+4)
1, 4, 5, b7,

Half Diminished / Minor Seventh Diminished Five (07 or m7-5)
1, b3, b5, b7,

59

Seventh Diminished Five (7-5)
1, 3, b5, b7,

Seventh Augmented Five (7+5)
1, 3, #5, b7,

Minor Major Seven (min/maj7 or m/^7)
1, b3, 5, 7,

Minor Major Nine (min/maj9 or m/^9)
1, b3, 5, 7(optional), 9,

Minor Major Eleven (min/maj11 or m/^11)
1, b3, 5, 7(optional), 9(optional), 11,

Major Seventh Diminished Five (maj7-5 or ^7-5)
1, 3, b5, 7,

60

Major Seventh Augmented Five (maj7+5 or ^7+5)
1, 3, #5, 7,

Major Seventh Augmented Five Augmented Eleven
(maj7+5+11 or ^7+5+11)
1, 3, #5, 7, #11,

61

Added Ninth Chords

Added Nine (add9)
1, 3, 5, 9,

Minor Added Nine (madd9 or m/9)
1, b3, 5, 9,

62

Ninth Chords

Major Ninth (maj9 or ^9)
1, 3, 5, 7, 9,

Dominant Ninth (9)
1, 3, 5, b7, 9,

Minor Ninth (m9)
1, b3, 5, b7, 9,

63

Altered Ninth Chords

Seventh Flat Nine (7-9)
1, 3, 5, b7, b9,

Ninth Diminished Five (9-5)
1, 3, b5, b7, 9,

Ninth Augmented Five (9+5)
1, 3, #5, b7, 9,

Seventh Augmented Nine (7+9)
1, 3, 5, b7, #9,

Seventh Flat Nine Diminished Five (7-9-5)
1, 3, b5, b7, b9,

Seventh Flat Nine Augmented Five (7-9+5)
1, 3, #5, b7, b9,

64

Seventh Augmented Nine Diminished Five (7+9-5)
1, 3, b5, b7, #9,

Seventh Augmented Nine Augmented Five (7+9+5)
1, 3, #5, b7, #9,

Minor Seventh Flat Nine (m7-9)
1, b3, 5, b7, b9,

Minor Ninth Diminished Five (m9-5)
1, b3, b5, b7, 9,

Minor Major Ninth (min/maj9 or m/^9)
1, b3, 5, 7, 9

Major Ninth Augmented Five (maj9+5 or ^9+5)
1, 3, #5, 7, 9,

65

Eleventh Chords

Dominant Eleventh (11)
1, 3, 5, b7, 9, 11,

Seventh Eleventh (7/11)
1, 3, 5, b7, 11,

Eleventh Flat Nine (11-9 or 11b9)
1, 3, 5, b7, b9, 11,

Seventh Augmented Eleven (7+11)
1, 3, 5, b7, 9, #11,

Minor Eleven (m11)
1, b3, 5, b7, 9, 11,

Minor Seventh Eleven (m7/11)
1, b3, 5, b7, 11,

66

Minor Eleventh Diminished Five (m11-5)
1, b3, b5, b7, 9, 11,

Major Ninth Augmented Eleven (maj9+11 or ^9+11)
1, 3, 4, 5, 7, 9, #11,

Major Seventh Augmented Eleven (maj7+11 or ^7+11)
1, 3, 5, 7, #11,

Major Added Augmented Eleven (add+11)
1, 3, 5, #11,

67

Thirteenth Chords

Major Thirteenth (maj13 or ^13)
1, 3, 5, 7, 9, 11, 13,

Dominant Thirteenth (13)
1, 3, 5, b7, 9, 11(optional), 13,

Minor Thirteenth (m13)
1, b3, 5, b7, 9, 11(optional), 13,

Thirteenth Diminished Nine (13-9)
1, 3, 5, b7, b9, 11, 13,

Thirteenth Suspended (13sus)
1, 4, 5, b7, 9, 13,

Thirteenth Augmented Nine (13+9)
1, 3, 5, b7, #9, 11, 13,

68

Thirteenth Augmented Eleven (13+11)
1, 3, 5, b7, 9, #11, 13,

Minor Thirteenth Eleven (m13/11)
1, b3, 5, 9(optional), 11, 13,

69

Django Reinhardt
Mark Knofler
Andres Segovia
My List

Adam Fulara
Adrian Smith
Andres Segovia
Angus Young
Brett Garsed
Buddy Guy
Carlos Santana
Charlie Patton
Chuck Berry
Honeyboy Edwards
Dimebag Darrel
Django Reinhardt
Eddie Van Halen
James Hetfield
Jason Becker
Jeff Beck
John Fogerty
John Petrucci
Kerry King
Kirk Hammet
Malcolm Young
Mark Knofler
Michael Angelo
Ottmar Liebert
Paul Gilbert
Robert Fripp
Slash
Son House
Stanley Jordan
Steve Morse
Steve Trovato
Stevie Ray Vaughan
Tom Morello
Wes Montgomery
Yngwie Malmsteen
Zakk Wylde
It is well worth any Guitarist time to have a closer look at these Guitar
Players!
Simply conduct a YouTube search...

70

My first Guitar influence was John Fogerty. When I was a child I thought
he was brilliant; these days I think hes supernatural.

John Fogerty is extremely underrated as a Guitar Player!

As far as Im concerned, John Fogerty is at the top of the Mountain.

70

A lot of Guitarists claim to be One with their Guitar, and others put their
Guitars on a pedestal. To me this is all Crap. The Guitar should not be
leading you; you should be piloting It.

Guitars are created by Hand and Machine; theyre from the thought
process of another human Being.

Guitar's are made to be played, and played hard!

71

Where to from here?

Firstly, if you dont agree with the smallest amount of what Ive stated in
this book then youre on the true path; for if you were to blindly except
my words then your personal exploration would suffer. However, any
disagreement needs to be implemented from a perspective of examination
that is unbiased, logical, practical, and exceptional to what I have tried to
impart; not out of stubbornness, arrogance, and ignorance!

If you want to go beyond the known world of Guitar, then get your hands
on my other Book call Go from Extremist to Supernatural. The Book is the
technical Guitarist dream manual; it focuses solely on Technique.

I guarantee that if the exercises are
followed to the letter, then it wont
be a matter of what can you play,
but simply a case of what do you
want to play. Second to getting my
other Book, you should be reading
as much material as possible on the
Guitarist mentioned in the My List
section of this Book.

Thirdly, get some 500 page Jazz
Books from anywhere you can. Jazz
is at the extreme forefront of Music;
a good understanding of Jazz is
essential to the Guitar Player
Extremist.

Recommended Reading

72

Books in this Trilogy

Book 1 Go from Advanced to Extremist

Book 2 Go from Extremist to Supernatural

Book 3 Go from Supernatural to God

Also, download a free copy of my book;

Fifth Chords

73

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