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Minor Chord Scale Lesson

The Essential Guide to Mastering the Minor Chord Scale

What is the Minor Chord Scale?

The minor chord scale is a collection of chords that are built from a particular minor scale, for example, an Am chord scale would include chords built from the notes of the Am scale (A, B, C, D, E, F, G). Like the major chord scale, the chords in am chord scale can be derived using a specific formula.

The most common formula for constructing Am is the following: Minor – Diminished – Major – Minor – Minor – Major – Major. This pattern is different from the formula used to build a major chord scale, which is Major – Minor – Minor – Major – Major – Minor – Diminished – Major.

Breaking Down the Minor Chord Scale:

Now that you know the formula for constructing a scale, let’s take a closer look at each chord in the scale:

  1. Minor: The first chord in the scale is always a minor chord. In the key of A minor, this would be an Am chord.
  2. Diminished: The second chord in the scale is always a diminished chord. In the key of A minor, this would be a Bdim chord.
  3. Major: The third chord in the scale is always a major chord. In the key of A minor, this would be a C chord.
  4. Minor: The fourth chord in the scale is always a minor chord. In the key of A minor, this would be a Dm chord.
  5. Minor: The fifth chord in the scale is always a minor chord. In the key of A minor, this would be an Em chord.
  6. Major: The sixth chord in the scale is always a major chord. In the key of A minor, this would be an F chord.
  7. Major: The seventh chord in the scale is always a major chord. In the key of A minor, this would be a G chord.

Applying to Guitar Playing

Knowing the chord scale can help you figure out the chords in any minor key. You can use this knowledge to improvise solos, write chord progressions, and understand the relationship between chords in a song. If you can figure out the home chord of a song, in 90% songs you will see other chord within other 6 chord of the chord scale

Am Chord Scale:
Am Chord Scale

A#m Chord Scale:

Bm Chord Scale:
B Minor Chord Scale

CmChord Scale:
C Minor Chord Scale

C#m Chord Scale:

Dm Scale:
D Minor Chord Scale

D#m Chord Scale:

Em Chord Scale:
E Minor Chord Scale

Fm Chord Scale:

F#m Chord Scale:

Gm Chord Scale:

G#m Chord Scale:

Also check Major Chord Scale

Harmonic Minor Chord Scale

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Boss GT 100 Patches free download

Boss GT 100 & GT 1 Artist Patches Custom Guitar Tone Download

Are you tired of struggling to create the perfect tone with your Roland Boss GT 100 or GT 1? Do you wish you could sound just like your favorite artists? Look no further. In this post, we will be sharing a collection of tone downloads for the GT-100, Boss GT 100, GT 1 that have been handpicked to give you the ultimate playing experience. Whether you’re a beginner or a pro, these tones will help you achieve the sound you’ve always wanted, and bring your guitar playing to new heights. Say goodbye to the frustration of tone-making and hello to the perfect sound with our GT-100 and GT-1 tone downloads. Those are basically my Boss GT 100 Patches but i also tested in GT 1..everything works almost fine, however some amp models are not available in low ends devices so you need to replace in that case.

Disclaimer: Some tones may not work correctly on the GT-1 due to limited amp models and effects. You may choose a similar tone and replace it.”

How to Connect GT-100 / GT-1 to your computer for editing:

First install The Fx Floorboard Software. Its Available for Linux, Windows and Mac 64bit / Mac 32 Bit Universal

  1. Connect the GT-100 to your computer using a USB cable. Make sure that the Boss USB driver software is installed on your computer.
  2. Open the FxFloorBoard program and go to the Menu. Under Preferences, select MIDI and select the GT-100 as the MIDI device for both input and output.
  3. Click the ‘Connect’ button in the editor program. If the connection is successful, the button should remain ‘on’.
  4. Open the Patch-Tree by clicking on the ‘yellow arrow’. The Patch-Tree has items that can be expanded by clicking on the ‘+’ symbols. The patch names will appear as the editor requests this information from the GT-100.
  5. A single click on a patch name in the Patch-Tree will change the GT-100 to that selected patch, and only the sound of that patch will be played through the GT-100.
  6. A double click on a patch name will load the patch information from the GT-100 into the editor, and all the patch settings will update the editor’s GUI. Turning any knob will change the sound of the effect being adjusted. When you achieve the desired sound, you can save the patch to the GT-100 or to a file on your computer.
  7. To save the patch to the GT-100, select a location with a single click on the Patch-Tree, then press the ‘write/sync’ button.

If you have trouble connecting, make sure the GT-100 MIDI UNIT ID is set to ‘1’ (factory default) and the MIDI channel is set to 1.

Boss GT 100 Patches
FX Floorboard UI For Boss Processor / Katana Amp

Boss GT 100, GT 1, KATANA, GT 1000, GX 100 Patches download:

All those tones are here :)

Guns N Roses & Slash:

Zakk Wylde:

Yngwie Malmsteen:

Dream Theater & John Petrucci:

AudioSlave / Tom Morello

Pantera Boss GT 100 Patches

Gary Moore

Paul Gilbert / Racer X

White Snake

Van Halen



Stevie Ray Vaughan

Steve Vai

Steve Lukather


Sonata Arctica





Ritchie Blackmoore

Bonjovi / Richie Sambora

Randy Rhoads

Rio Speedwagon


Red Hot Chillie Peppers


Queen / Brian May


Pink Floyd / David Glimour

Pearl Jam

Ozzy Osbourne

Nirvana / Kurt Cobain




Motley Crue

Michael Angelo Batio

Metallica Boss GT 100 Patches

Mark Knopfler

Linkin Park

Limp Bizkit

Led Zepplin


Kings of leon

Judas Priest

John Mayer

Joe Satriani

Joe Bonamassa

Jimmy Page

Jethro Tull

Iron Maiden


Frank Zappa

Foo Fighters

Eric Johnson

Eric Clapton




Dimebag Darrell

Deeff Leppard

Deep Purple

Children Of Bodom

Bryan Adams

Black Sabbath

Blink 182

Bob Marley



BB King

Avenged Sevenfold


Andy Timmons

Alice in Chains

Allan Holdsworth



Hell’s Bells – Harmonics – Part 2 – Dimebag Darrell Lesson

What’s shakin’, tough guy? Like I promised at the end of last month’s column, this time I’m gonna light you up on how to do “harmonic squeals,” like the ones at the end of “Cemetery Gates” (Cowboys From Hell). A bunch of you have written in asking about this technique. Thanks for all your letters; keep ’em coming, man!

To get “harmonic screams” (same shit, different term) happening, you need a whammy bar. So, if your axe doesn’t have one, then you’re gonna have to sit this lesson out-sorry, dude! Also, just so you know, we’re gonna be doing some pretty brutal dives that will definitely knock a non-locking tremolo system way out of tune. So a locking one, like a Floyd Rose-type, is kind of essential.

In case you’re not exactly sure what I mean by a harmonic scream, there’s a real long, slow one in “This Love” (Vulgar Display Of Power) which starts at 6:21 (CD time) and runs to the very end of the track. You can also hear me doing a bunch of them in “Cemetery Gates, ” between 6:14 and the end, where I imitate Phil’s [Anselmo, Pantera’s vocalist] screams. I love that sort of vocal stuff, but there’s no way in hell I can do it with my voice-I don’t have that kinda range! So, harmonic screams are my way of “singing out”, using my guitar instead of my throat. That’s why I really dig this technique.

I stumbled on harmonic squeals when I was dicking around one day. A lot of people think I use a harmonizer or a [Digitech] Whammy Pedal to do them, but I don’t; all I use is my bar and some natural harmonics. To make harmonics scream, I first dump my Floyd Rose real quick, hit a harmonic with my left hand while the string is still flapping, and then use the bar to pull it up to the pitch I wanna hit.

If this sounds kinda complex to you, don’t schiz; it’s actually a pretty simple thing to do once you’ve got the technique down. So, let’s learn how to do a real basic harmonic scream in “slow motion,” by breaking the idea down into four easy steps. Let’s use the harmonic that’s directly above the 5th fret on the G string (‘cos it’s a pretty easy one to nail) and make it “scream” up to its original pitch of G. First though, dial up a distorted sound (remember, gain helps harmonics happen) and switch to your lead (bridge) pickup.

Step 1: Position your left hand so you’re ready to hit the 5th-fret harmonic on the G string with your bird (middle) finger. Then mute the high E and B strings with your left-hand index finger, and the low E, A and D with your thumb by wrapping it around the top of the neck.

Step 2: Flick the G string with your bird finger and dump the bar down to the pitch you want the scream to start out at. You can take the bar down as little or as far as you want; just don’t take it down too far, or the string will die of shock and the harmonic won’t happen.

Step 3: As soon as the bar is dumped, sound the harmonic by lightly tapping the G string directly above the 5th fret with your bird finger. While you’re doing this, make sure you’re still keeping the other strings quiet with your thumb and index finger.

Step 4: As soon as you’ve hit the harmonic, release pressure on the bar and let the G string return back up to pitch. As long as you’ve sounded the harmonic properly, it’ll “scream” up to G (as shown in Figure 1).

Figure 1
Listen Figure 1

The first few times you do this you’re gonna hear the open G string “growl” before the scream starts happening. This is just because you’re doing everything in slow motion. Once you’ve got this technique down, though, you won’t hear the growl because you’ll be doing the first three steps so quickly they’ll almost be simultaneous. If it takes you some time to get these squeals happening, don’t skid-it took me a while too.

Work on this technique until you can nail FIGURE 1 no problem, then move onto FIGURE 2.

Figure 2
Listen Figure 2

This one stays on the G string but has you “screaming” a bunch of different harmonics up to pitch. The last one can be a bitch to hit, but stick with it ‘cos it sounds real cool when you nail it. Once you get this one down, try doing the same thing on the other five strings.

Shit, I’m outta space. Bust a nut on FIGURE 2, ‘cos next month we’ll be cranking these sons-of-bitches so high that dogs’ll be barking! Time for me to unhook! Gotta book! Until next time, don’t forget how ripper the guitar sounds. So GET SOME OF IT *#$%* damn it! Lata!

Ear Training With Steve Vai – Part 3 – When Your Ears Become Really Good

In my last two columns, I outlined a series of different ear training exercises designed to sharpen your note-recognition abilities. As you may recall, we began with an examination of the intervallic relationships between pairs of notes, then expanded the scope of our analysis to include full chords. Up to this point, we’ve been using the guitar as the tool for learning. Ear training, however, is something that a musician should ultimately be able to apply to sounds made not only on one’s principal instrument but to notes produced by other instruments such as keyboards, horns, strings or the human voice. When your ears become really good you’ll begin to realize that every sound is made up of either one or more pitches, and you’ll listen to music — and the sounds around you — in a new and different way.

If you have diligently worked on the exercises I presented in the last three columns, your ears have no doubt improved. But there’s no rest for the weary: this month I’ll be giving you some drills that will raise the ear training bar a few more notches.

In my first column, I outlined exercises that entailed singing along with everything that you play on the guitar. What we’re going to do now is to sing in harmony with everything we play.

Let’s begin with the interval of a fifth. FIGURE 1a illustrates the A major scale (A B C# D E F# G#), with the intervallic relationships indicated between the standard notation and tablature. In the key of A, A is considered the first scale degree (“one”) and the root note. Note E is called the “fifth,” as it is the fifth scale degree of the A major scale. If you were to play these two notes, the root and the fifth, together, as shown in FIGURE 1b, you’d be playing notes that are the interval of a fifth apart; the resulting sound is an A5 chord.

Figure 1
Listen Figure 1A
Listen Figure 1B

The A minor pentatonic scale (A C D E G) is one that many guitar players are familiar with, so we’ll be using it as the basis of our next exercise. FIGURE 2a depicts the A minor pentatonic scale, while FIGURE 2b illustrates the same scale with each note harmonized a fifth above. As you play each pair of notes, sing only the higher of the two, which is the fifth. Play and sing this harmonized scale up and down several times.

Figure 2
Listen Figure 2A
Listen Figure 2B

Now comes the fun and challenging part. FIGURE 3 is a melody built from the A minor pentatonic scale; your mission is to play this melody on the guitar while harmonizing every note a fifth above with your voice (these notes are indicated in parentheses). This may seem difficult at first, so tackle this exercise one pitch at a time, and try your best to sing the harmony notes as in tune as you possibly can.

Figure 3
Listen Figure 3
Figure 4
Listen Figure 4

Next Part we’ll expand this concept to other intervals, such as thirds and fourths. See you then.