Know Your Notes

The Basics
Notes are named after the first seven letters in the alphabet. In order, they are:
A - B - C - D - E - F - G


Between any two notes, except B - C and E - F, we also have
a sharp and/or flat note.
These are the symbols that are used to denote sharp and flat:



= sharp

= flat




If we list the notes, again, and include the sharps and flats, we get:
A - A#/Bb - B - C - C#/Db - D - D#/Eb - E - F - F#/Gb - G - G#/Ab - A


One important thing to notice is that X#/Xb is one note that has two names (The term
used to describe this is ENHARMONIC). For example, A# is the exact same note
as Bb. Sometimes, one name will be used, and sometimes the other name will be used.
We will cover this in much greater detail in a later lesson. For now, it's only important
that you know the names of the notes.
Another thing to notice is that after G#/Ab We arrive at A again. This
second A vibrates exactly twice as fast as the first A, and therefore, the ear tends to
hear it as another version of the same note. The second A is called the OCTAVE of
the first A. If we continue after the second A, we getA#/Bb an OCTAVE higher than
the first, B an OCTAVE higher, C an OCTAVE higher etc., etc., until we get
to A again. This A is two OCTAVEShigher than the first A. If we keep going, the
whole pattern just repeats over and over until we can't get any higher on the
instrument. (If you didn't run out of notes, you could keep right on going until the
notes were so high that only a dog could hear them!) The same is true if you travel in
the opposite direction. The pattern repeats until you run out of notes, or the neighbors
call the cops (whichever comes first).
Here's something to help you remember the sharps and flats. If you sharpen a pencil,
you raise a point on it. Therefore, if you play A and then play the next higher note,
you would call the second note A#. If you flatten a pop can, you mash it down.
Likewise, if you play B and then play the nextlower note, you would call the second
note Bb. Remember that A# and Bb are the exact same note or ENHARMONIC.
This may be a bit confusing but, you'el get used to it.
All you have to remember is A through G of the alphabet and a #/b note in between
every two notes except B - C and E - F (There's no such note asB# or Cb,
likewise, E# or Fb. There is an exception to this but, that's way down the road!).

The Fingerboard
Here's what the notes look like covering the fingerboard:



I've left the sharps and flats off to make the chart easier to read, but that doesn't mean
that you should ignore sharps and flats.

Now, let's take a closer look at how the notes are organized:
1. The open strings and the 12th fret are identical:




2. The low E-string and the high E-string are identical:




3. Octaves:




4. Adjacent notes:




The Practice
Go to this page, and print about 2 billion copies.
Now, every time that you think you don't have anything to do, grab one of the sheets
you just printed out and fill in the names of the notes on each neck diagram. It really
doesn't matter if you write in the notes one string at a time or across the strings or in
any other manner you can come up with. Writing those notes out on the diagrams is
gonna help you to start seeing them. That is the whole point of doing the exercise.
Another good practice is to pick a note per day, and for that day, you practice locating
that note on your guitar neck. The next day, pick a different note. This exercise can be
extended to include practicing chords, scales, modes, arpeggios (you name it) from
your selected note.
A third exercise is for when you don't have your guitar near you (maybe you are
waiting at the bus stop or riding the subway). Pick a chord or a scale or even a lead
lick that you know and visualize exactly where you would play it on the guitar neck.
Then try to figure out what notes you would be playing. The more clear you are in
your mind about what frets and strings you would be playing, the greater the benefit
you will receive from this exercise.
Lastly, anytime while playing the guitar that you can remember to do this, stop and
ask yourself what notes you are playing. If you don't know what notes you are
playing, figure it out.

There's no real short-cut to learning to see the notes up and down the fingerboard. It
simply takes a desire and willingness to learn and practice. It also helps if you can see
a potential value in acquiring the skill.

Best of luck!

The Major Scale

The Basics
Although it might seem strange, (given the fact that the notes are named A through G)
music theory actually begins with the key of C.
Below is the CHROMATIC SCALE starting with C:

C - C#/Db - D - D#/Eb - E - F - F#/Gb - G - G#/Ab - A - A#/Bb - B - C

A SCALE is nothing more than a clever way to travel from octave to octave. The
word CHROMATIC comes from chroma or color. Think of thechromatic
scale (because it contains every note) as one that includes all the colors.
Every other scale (there are hundreds of them) is constructed by selecting only certain
notes from the chromatic scale.
The chromatic scale is the model used for the concept of WHOLE-
STEPS and HALF-STEPS (sometimes referred to as WHOLE TONE andSEMI
TONE).
A HALF-STEP is the distance between any two notes along the chromatic scale. If
you play any note of the chromatic scale and then play the next higher note OR the
next lower note, that is considered a HALF-STEP.
A WHOLE-STEP is equal to the distance of two HALF-STEPS. Therefore, if you
play any note of the chromatic scale and then play, not the next note, but, the note
after that, you are executing a WHOLE-STEP. (C to C# is a half-step, C to D is
a whole-step etc...)
When applied to the guitar, half-step translates to the distance of one fret and whole-
step to the distance of two frets. It makes no difference what the names of the notes
are. The only thing that matters, is how far apart those notes are. (Understand
that B and C are one fret apart as are E and F. these two pair of notes are therefore
a half-step and not a whole-step. This is a common misunderstanding that beginning
students have when first learning this concept. They assume that because there is
no sharp or flat between those notes that they are a whole-step apart.)
Now, before we continue, another definition:
A note that is neither sharp nor flat is considered NATURAL. The symbol used to
denote NATURAL looks like this:



NATURAL is understood rather than written most of the time. In other words, unless
you see a # or b attached to a note, that note is assumed to beNATURAL and
therefore, does not require the use of it's symbol. (When dealing with standard music
notation however, you will encounter theNATURAL SIGN quite frequently.)
If you start on C and play only the NATURAL notes until you reach the octave, you
will arrive at the notes of the C MAJOR SCALE:

C - D - E - F - G - A - B - C

Now, if we look at the whole-steps and half-steps between each note of the C
MAJOR SCALE, we find this pattern:

W - W - H - W - W - W - H

This pattern of whole-steps and half-steps is the single most important part of
understanding music theory.
Every major scale in every key follows this w/h pattern.
For example, if we start on G and apply the pattern, we get the notes of the G
Major scale:

G - A - B - C - D - E - F# - G

The note that you start with is called the ROOT NOTE. The root note defines what is
called KEY. When someone asks, "What key is this song in?", they are asking about
the root note of the scale that the song is based upon.
So, the major scale in the key of F is constructed by starting on F and following
the w/h pattern:

F - G - A - Bb - C - D - E - F

That's all there is to it! Start on a root note and follow the w/h pattern. You are now
the proud owner of a major scale.
Any note from the chromatic scale can (and will) function as the root note. So long as
the rest of the notes follow the w/h pattern, the scale will be aMajor scale in
the key of that root note.

The Fingerboard
Up and down the individual strings (key of C, square is the root note):





etc...

Across the strings (key of C, square is the root note):





etc...

Combining the two (key of C, square is the root note):




Covering the entire fingerboard (key of C, square is the root note):




The Practice
When it comes to scales, the most important thing is to be able to turn the "pattern"
into "music". There's really no point to mindlessly running up and down the scale for
hours on end. As soon as you acquire a basic understanding of how the notes lay out
across the fingerboard, it's important to start "messing around" with the scale. You
need to start searching out the melodic possibilities of the scale.
Here are two MIDI files that will help you to get the Major scale under your finger
tips. Both are in the key of C.
Pedal tone is a static C chord. While the chord is playing, you can play up and down
the C Major scale and familiarize yourself with the sound of the various tones in the
scale.

Pedal Tone

Chord progression, as the name implies, is a chord progression in the key of C. While
the chord progression is playing, you can practice improvising lead lines out of the C
major scale.

Chord Progression

You need to know the Major scale in every key, not just C. The best way to
accomplish this is to practice a different key every day. For that day's practice, stick to
that key only. If you find yourself getting bored with the key you are practicing, it
means that you are not digging into your practice deep enough. Instead of switching to
a new key, make yourself come up with something interesting. That is how you will
really learn to play!!


Circle Of Fifths - keys signatures explained

The Basics
The circle of fifths is a handy tool for organizing the 12 possible Major scales into
what is called KEY SIGNATURE.
In the Major Scale Lesson, we learned that "key" refers to the starting note (root) of
the scale. "Key signature" simply refers to the number of sharps or flats that occur in
each key. No two major scales will contain the same number of sharps or flats, so
scales can be easily organized by key signature.

Let's take a look.

As we learned in the Major Scale Lesson, the C Major scale contains no sharp or flat
notes - C D E F G A B. This is the only Major scale with only natural notes. All other
keys will have a varying number of sharp or flat notes. Each key has a unique key
signature.
If we build our next scale starting with the 5th note of the C major scale, we get
the G Major scale - G A B C D E F#. Notice that the G Major scale has one note that
is sharp (F#).
Now, lets build a third scale starting from the 5th note of the G Major scale. That will
give us the D major scale - D E F# G A B C#. Notice that we now have two notes that
are sharp (F# and C#).
If we build a fourth scale from the 5th note of the D Major scale, we get the A Major
scale - A B C# D E F# G#. As you've probably guessed, the AMajor scale has one
more sharp than the D Major scale.
That's how it works.
If you build a Major scale from the 5th note of another Major scale, the new
scale will have one more sharp than the scale you started with.
That's where the "5ths" in the circle of 5ths comes from, but what about the "circle"
part? The circle comes from the fact that if you continue to build a scale from the 5th
note of the previous scale, you will eventually wind up right back at the
beginning, C Major:

G is the 5th note of C Major.
D is the 5th note of G Major.
A is the 5th note of D Major.
E is the 5th note of A Major.
B is the 5th note of E Major.
F# is the 5th note of B Major.
C# is the 5th note of F# Major.
G# is the 5th note of C# Major.
D# is the 5th note of G# Major.
A# is the 5th note of D# Major.
F is the 5th note of A# Major.
C is the 5th note of F Major.

We're right back where we started, as if we traveled in a circle.

Now, one of the conventions of key signatures is that a proper key signature does not
mix sharps and flats. You have one or the other, not both. Another convention is that
the letter name for each note can only be used once. These two conventions present us
with a problem.
Once you get to a certain point within the circle, it becomes impossible to observe
these two conventions without considering the note F to be E# and the note C to
be B# or resorting to the awkward designation of DOUBLE SHARP. (Denoted by x,
a double sharp note is equivalent to the note one whole-step higher than the letter
name being used. Cx is the same pitch as D.)
Let's look at the key of F#:
F# G# A# B C# D# E#(F)

In order to avoid using both F and F# in the key signature, we have to "bend" the rules
and name F as E#.
The convention of not using the same letter name twice is a hold-over from written
music notation. See this lesson for an introduction to written notation. As you can see
from that lesson, each letter name is given a line or a space on the staff. It would be
very awkward trying to write both F andF# into the same key signature.

Now, once you get to the key G# in the circle of fifths, the dreaded double sharp
appears:
G# A# B#(C) C# D# E#(F) Fx(G)

At this point, things are getting out of hand. So, what would happen if, instead of
trying to use a G# scale, we were to use Ab instead? (Remember thatG# and Ab are
the same note.)
Let's try it:
Ab Bb C Db Eb F G

Hey, that's a lot better than that G# monstrosity!

So, let's take a look at key signatures with flats instead of sharps.
If we go back to the C Major scale (C D E F G A B), but instead of going to the 5th
note, we go to the 4th note to construct our next scale, we get theF Major scale- F G
A Bb C D E. Notice that the key of F Major has one flat.
If we build our next scale from the 4th note of the F Major scale, we get the Bb major
- Bb C D Eb F G A. Notice that we now have two flats.
It's the same pattern all over again.
If you build a Major scale from the 4th note of another Major scale, the new
scale will have one more flat than the scale you started with.
And once again, if you keep going, you're going to end up right back at C:
C F Bb Eb Ab Db Gb B E A D G C

Let's reverse the order of those notes:
C G D A E B Gb(F#).....

Hey! Wait a damn minute! Isn't that the same order we had before, when we were
working the sharps? (Go back and take a look.)
It sure is.
If we take our original circle of 5ths and change each sharp to its flat equivalent we
get this:
C G D A E B F#/Gb Db Ab Eb Bb F C

Now, since we're calling this a circle, let's look at it that way:




C is at the 12:00 position, because the key of C has no sharps or flats.
If you travel clockwise around the circle to the 6:00 position, each successive key has
one more sharp than the preceding key.
If you travel counterclockwise to the 6:00 position, each successive key has one more
flat than the preceding key. Moving counterclockwise around the circle is sometimes
referred to as the circle of 4ths and also referred to as "back-cycling" through the
circle of 5ths.

Now, let's take a look at F#/Gb:
F# G# A# B C# D# E#(F)
Gb Ab Bb Cb(B) Db Eb F

It makes no difference whether you use sharps of flats with this key. Both give you
the same result. If you use sharps, you end up having to refer to Fas E#. If you use
flats, you end up having to refer to B as Cb. It's pretty screwy, but there's nothing to
be done about it.

Here's a handy sing-song for remembering which notes are sharp or flat in each key:
Sharps = Father Charles Goes Down And Ends Battle.
Flats = Battle Ends And Down Goes Charles' Father.

Each successive key not only adds a new sharp or flat, but keeps the sharps or flats
that were present in the preceding key.
Moving around the circle clockwise
yields G (Father), D (Father Charles), A (Father Charles Goes) etc... The key
of G has one sharp, which is F. The key of D has two sharps, which are F and C. The
key of A has three sharps, which are F, C and G etc...
Moving around the circle counterclockwise
yields F (Battle), Bb (Battle Ends), Eb (Battle Ends And) etc... The key of F has one
flat, which is B. The key of Bb has two flats, which are B and E. The key of Eb has
three flats, which are B, E, and A etc...

The fingerboard
The circle of 5ths is very easy to visualize on the fingerboard:



The circle of 4ths is just as simple:



In each case, you start with C, and add a sharp or flat for each successive key. It
doesn't get much easier, folks.

The practice
The circle of fifths falls into the category of "something handy to know but not
something that you can really practice"... that is, until you begin analyzing songs
and/or writing your own songs. Many common chord progressions follow the circle of
5ths. The more familiar you are with this device, the easier you will be able to spot it's
use within a song.
One use for the circle of 5ths in a compositional sense is as a key changing device.
Changing the key signature in the middle of a piece of music is
called MODULATION. The smoothest modulation occurs between keys that have
only one note difference between the two keys. If you've been paying attention, you
should realize that this is exactly how the keys are organized with the circle of fifths.

A good way to practice modulation, utilizing the "circle", is to pick a position on the
guitar neck and "run the scales" through the circle. Without moving up or down the
fingerboard more than one fret, you should be able to pick out each successive sharp
or flat key and play that Major scale.
If you are soloing over a chord progression that suddenly shifts to a new key, the
ability to quickly change to the appropriate scale is a must. You won't always have the
luxury of shifting your hand position in order to change to a new scale.
Learn your scales.
Learn your fingerboard.
That's the only way.

Intervals

The Basics
Intervals are the units by which music can be measured. You could say that intervals
are to music what inches (or centimeters) are to carpentry. If a carpenter wants to
know how "things" fit together, he needs to understand how to measure those
"things". If a musician wants to know how music is put together, that musician needs
to understand intervals.
Intervals are defined by the Major scale. In other words, every aspect of music is
compared to the major scale to see how "things line up".
Simply put, an interval is the distance between two notes and the distances between
the notes of the major scale provide us with a reference point.
Let's look at the C major Scale:

C - D - E - F - G - A - B - C

The C note functions as the root or 1, and the rest of the notes are
numbered 2 through 8. In other words, D = 2, E = 3, F = 4, G =5, A = 6, B = 7and the
octave C = 8. (This is where the name octave comes from. Octo = 8, as in octopus.)
Before we continue, you need to fully understand a couple of points about the major
scale:
1 - The major scale is derived by following the whole-step half-step pattern: w - w - h
- w - w - w - h. This w/h-step pattern is what "really" dictates where the intervals lit
on the fingerboard.
2 - The major scale can start on any note of the chromatic scale. I'm only using the
key of C as an example. Everything that applies to theC major scale applies to any
and all other major scales.
If you are not clear on how major scales are built and how they cover the fretboard in
every key, you need to check out the Major Scale before continuing with this lesson.

The major scale is the only musical element that has the intervals 1 - 2 - 3 - 4 - 5 - 6 -
7 - 8. Everything else has a different interval structure. You see, intervals are just like
notes in that they can be sharp or flat. For example, you will run into such things
as b3, #5 and b7.
This numbering of the notes is called the FORMULA. Scales, chords, chord
progressions, and even entire songs can analyzed by their underlying formula. All
other musical structures can be learned on the guitar by understanding the formula ie.,
how that structure is different from the major scale.
Let's take a look at the Harmonic Minor Scale. The harmonic minor scale, when
compared to the major scale, has the intervals: 1 - 2 - b3 - 4 - 5 - b6 - 7 - 8. This
means that the harmonic minor scale is exactly like the major scale except that
the 3rd and 6th intervals are flattened (lowered by one fret).
C Major:
C Harmonic Minor:
C - D - E - F - G - A - B - C
C - D - Eb - F - G - Ab - B - C

Now, understand that the notes and the intervals are one and the same, but just
because a note is sharp or flat, that doesn't mean that the interval is sharp or flat and
vice versa. You have to know the major scale absolutely well in order to understand
how this interval stuff works.
Once and for all, the intervals are dictated by the major scale. Depending on what key
the major scale is in, you will have sharp or flat notes in the scale.
Take the E major scale for example: E - F# - G# - A - B - C# - D# - E. In this
case, E =1, F# = 2, G# = 3 etc... You have to know the notes that are already in the
key before you can determine what the b3 (or any other interval) might be. In the key
of E, the b3 would be G (3 = G#).
Intervals are the distance (how many frets) between the notes. If you put your index
finger on any note on any string, and call that note the root (or 1),2 will ALWAYS be
a whole-step higher, no matter the name of the note you are playing. That is how
intervals work. They follow the w/h-step pattern without exception.
So, the harmonic minor scale (1 - 2 - b3 - 4 - 5 - b6 - 7 - 8) starting on E would look
like this:
E Major:
E Harmonic Minor:
E - F# - G# - A - B - C# - D# - E
E - F# - G - A - B - C - D# - E

Every aspect of music theory is discussed in terms of this interval formula. This is
why I often say that the major scale is the single most important element of music
theory - every thing else is compared to the major scale.
Now, for the sake of clarity, I usually just refer to intervals by number and throw in
sharp or flat if it's needed, but there is an old system for naming intervals that a lot of
overly educated people insist on using. I figure I better go over this with you, so you
won't think I ripped you off or I don't know what I am talking about.
If you haven't already, you are bound to run into people saying things like minor
3rd, perfect 5th and major 7th. The reason that I don't use these names in
conjunction with intervals is that these names are also used to name chords. Most
people that I have taught just find it confusing. I say, "If there is a simpler way to
understand something, why not use the simpler way?"
So here goes:
The 2nd, 3rd, 6th and 7th are considered major intervals. If you lower (flat) a major
interval it becomes minor. So 3 = major 3rd, and b3 = minor third etc... When this
system was invented (back in the days when you had to wear a powdered wig if you
wanted to be taken as a serious rock star), there was no such thing as sharping the 2, 3,
6 or 7. More on this in a moment.
The unison (playing the same note), 4th, 5th and octave are considered perfect
intervals. If you lower a perfect interval, it becomes diminished. So 5 = perfect 5th,
and b5 = diminished 5th. If you raise (sharp) a perfect interval it becomes augmented.
So 4 = perfect 4th, and #4 = augmented 4th. (I hope your getting all this.)
In more recent times, it has become necessary to account for raising (sharping) the
major intervals. Rather than come up with a unique name for this, the powers that be
decided to just call these intervals augmented as well. So, a person is stuck trying to
remember which names fit which intervals and when to use a unique name for the
interval as opposed to the same name.... "no...wait...don't tell me... that must be the
augmented 3rd from the perfect 5th.... or was that a diminished 5th?"
As far as I'm concerned, it's much easier to call 'em by number and say sharp or flat.

The Fingerboard:
Up and down the strings:

Major Scale


Harmonic Minor Scale



Across the strings:

Major Scale


Harmonic Minor Scale



The Practice:
Learning intervals is just like learning the notes on the fingerboard. All it really takes
is the willingness to stop yourself once in a while and ask a couple of questions.
"What key am I in?" "What interval am I playing relative to the root note of the key?"
Ask those questions a few times and you will start getting the hang of this stuff.
Here are a couple of exercises to work on:






Both exercises are based on the same idea: moving the 3rd interval through the scale.
Notice that as you move the interval through the scale that sometimes the interval is
normal and other times the interval is flat. Study this carefully, it is very important to
understanding how chord progressions work.
Also, you need to work these exercises out in all possible positions on the fingerboard
for all keys. Lots of work to do there :-)
Then you need to do the same thing starting with each of the other possible intervals.
Work them through the scale and pay close attention to the spots where the interval
changes from normal to sharp or flat.
Have fun.


Triads

The Basics:
Chords are the basis for western harmony. Other cultures may take a different
approach, but in the west, the chord is king.
The most basic chord is called a TRIAD. There are four possible triads:

major: R - 3 - 5
minor: R - b3 - 5
augmented: R - 3 - #5
diminished: R - b3 - b5

Triads derive their name from the fact that each one contains only three intervals and
the fact that the intervals in each are a 3rd apart:

major: 3 + b3
minor: b3 + 3
diminished: b3 + b3
augmented: 3 + 3

What this 3 + b3 stuff means is that if you were to start on a root note (C for
example), and build a major triad, the second note in the triad (E) would be
a 3rd higher than the root, and the third note of the triad (G) would be a b3rd higher
than the second note (E). This "stacking thirds" concept is very important when it
comes to chords, so make sure you understand this part.
When it comes to playing triads on the guitar, you will encounter what is
called CLOSE VOICING, and OPEN VOICING.
Close voicing means that all three notes of the triad are within the same octave. Open
voicing (not the same thing as open position) means that one or more notes of the triad
are outside of an octave.
It is also common practice to double one or more of the notes in a triad. This produces
a fuller sounding chord.

The Fingerboard:
Close voicing:

major


minor


diminished


augmented



Open voicing:

major


minor


diminished


augmented



Octave doubled (close voicing):

major


minor


diminished


augmented



The practice:
Triads form the basis for all other chords (except for sus chords which are covered in
another lesson). No matter what the chord is, you will find a triad hiding inside of it.
Take every chord that you know, and identify the triad that the chord is built upon.
Another good practice is to pick a root note and build each of the four triads off of that
root note.
You should also take a each triad and search out every possible location that the triad
can be played on your guitar.


Triad Inversions

The Basics:
An important aspect of chordal understanding is what is called VOICING. Voicing
simply means how the notes of the chord are arranged from low to high. In the Triad
lesson, I cover two important voicings, open and close. In this lesson, we are going to
look at three other ways that a triad may be voiced. This is called INVERSIONS. A
chord is inverted when any note other than the root of the chord is used as the lowest
note. That sounds pretty heavy duty, but it is really quite simple.
Most people, when first learning about chords, tend to think that the lowest note in the
chord MUST be the root note of the chord. This is not always the case. Very often, a
note other than the root will be used as the lowest note of a chord. There are several
reasons for this including but not limited to ease of playing and the particular sound
quality that is produced by inverting a chord.
There are three possible inversions of any triad:
Root position: The root of the chord is the lowest note.
1st inversion: The 3rd of the chord is the lowest note.
2nd inversion: The 5th of the chord is the lowest note.

That's all there is to it. I told you it was easy!
The only hard part about inversions is not getting them mixed up on the fingerboard.
That just takes a little practice. (as if you didn't already know that was coming.)

The Fingerboard:
Close voiced major chords:

Root Position


1st Inversion


2nd Inversion



Open voiced major chords:

Root Position


1st Inversion


2nd Inversion



The Practice:
Plot out the inversions for close voiced major triads on each set of three strings: E-A-
D, A-D-G, D-G-B, G-B-E. Be careful with the third and fourth sets. The B-
string changes the shape of everything.
Now, do the same thing for minor, augmented and diminished.
Make learning these inversions a priority in your own practice. They really are the
"secret" to great playing.
Once you are thoroughly familiar with close voicing, start working on open voiced
inversions. You will find that the better you know the close voiced triads, the easier it
is to see the open voiced variety.
Don't just memorize these chords, internalize them. In other words, you have to get to
know them. Each inversion has a personality of its own. You need to get to know that
personality. One way of doing that is to try using the different inversions in chord
progressions. Another way to get familiar with the inversions is to listen for them in
songs that your know. You might be surprised to learn that the reason "that one chord
in the middle of the chorus" of your favorite song doesn't sound right when you try to
play it on your guitar, is because you are not using the correct inversion.


Harmonizing the Major Scale

The Basics:
Most chord progressions that you will come across are based on a formula. That
formula is the harmonized major scale, or what I call the CHORD SCALE. There are
exceptions to this statement, but usually, those exceptions can be traced back to the
harmonized major scale as well.

If we take the major scale:

C - D - E - F - G - A - B - C

And we build a triad off of each note of the scale using only notes found within the
scale, we get this:

I C-E-G
1-3-5
Cmaj
ii D-F-A
1-b3-5
Dmin
iii E-G-B
1-b3-5
Emin
IV F-A-C
1-3-5
Fmaj
V G-B-D
1-3-5
Gmaj
vi A-C-E
1-b3-5
Amin
vii B-D-F
1-b3-b5
Bdim
VIII C-E-G
1-3-5
Cmaj

Study the chart closely. It's important that you understand how each of these triads are
taken right out of the C major scale. (Go to the Triads lesson if you are not absolutely
clear an how triads are built.)

Now, it's important that you understand that we could have used any major scale for
our demonstration. I use the C major scale for examples so I don't have to type sharps
and flats. But, remember, what works for the major scale in one key works for the
major scale in ALL keys. (Go to theMajor Scale lesson if you are not absolutely clear
on how major scales are constructed.)
This is where the Roman numerals come into play. By referring to the Roman
numerals, we can talk about chord progressions without having to dictate the key. For
example, a very common chord progression is I-IV-V-I. This progression is used in a
lot of songs.
Let's look at the chart again:

I C-E-G
1-3-5
Cmaj
ii D-F-A
1-b3-5
Dmin
iii E-G-B
1-b3-5
Emin
IV F-A-C
1-3-5
Fmaj
V G-B-D
1-3-5
Gmaj
vi A-C-E
1-b3-5
Amin
vii B-D-F
1-b3-b5
Bdim
VIII C-E-G
1-3-5
Cmaj

I-IV-V-I means to play the chord built off of the first degree (note) of the scale
followed by the chord built from the 4th degree, the chord built off of the 5th degree
and back to the chord built off of the 1st degree. In the key of C, that would be C-F-
G-C.
To play the progression in another key, you need to know the chord scale for the key
you want to play in. That sounds like you have to know a different chord scale for
every key, but it is much easier than that.
Let's look at the key of G:

I G-B-D Gmaj
1-3-5
ii A-C-E
1-b3-5
Amin
iii B-D-F#
1-b3-5
Bmin
IV C-E-G
1-3-5
Cmaj
V D-F#-A
1-3-5
Dmaj
vi E-G-B
1-b3-5
Emin
vii F#-A-C
1-b3-b5
F#dim
VIII G-B-D
1-3-5
Gmaj

Notice that we get the same TYPES of chords in the EXACT SAME ORDER as
before. The only thing that changes is the root notes of each chord and the notes in
each chord follow the G scale instead of the C scale. No matter what key we choose,
the chord types will occur in the exact same order so long as we follow the major
scale in that key. (if we use a different scale, then the chords will be different.)
What this means to you, is that all you have to learn is which number = which chord
type and how far apart the chords are from one another. It's really easy!
The major scale follows this whole-step/half-step pattern:

w - w - h - w - w - w - h

The chord scale follows the same pattern:

I ii iii IV V vi vii VIII
w w h w w w h

Now, all you have to do is remember which type of chord each number represents.

I ii iii IV V vi vii VIII
w w h w w w h
maj min min maj maj min dim maj

Notice that upper case numerals are used for major chords and lower case for minor
and diminished. This is to help you keep the chord types straight.

There is an old system for naming each chord within the chord scale, and some people
insist on using it. I figure that I better show it to you, so you won't feel left out:
I Tonic
ii Supertonic
iii Mediant
IV Subdominant
V Dominant
vi Submediant
vii Leading Tone

You will here the word "dominant" thrown around quite often. The others you may
never run into, but you never know.

The Fingerboard:
Key of F, using barre chords:

I - Major


ii - minor


iii - minor


IV - Major


V - Major


vi - minor


vii - diminished


VIII - Major



Key of C, using "cowboy" chords:

I - Major


ii - minor


iii - minor


IV - Major


V - Major


vi - minor


vii - diminished


VIII - Major



The Practice:
The first thing you need to do is play up and down the chord scale in EVERY key.
There is no substitute for this practice. You gotta be able to see the chord types and
the w/h-steps no matter where the chords land on the fingerboard. The more chord
shapes and inversions that you know, the more you need to play through the chord
scale using those shapes.
Next, take every chord progression that you know (and every one that you learn from
now on) and see if the chords fit the chord scale.
A few of points to keep in mind:
1 - A lot of progressions are based around chord I, but any chord in the scale can be
the main chord of a song. For example, V-IV-I-V and vi-IV-V-vi are two very popular
rock progressions. ii-V is a popular jazz progression. These three progressions don't
even use the I chord!
2 - very few songs use the entire chord scale. They usually just use part of the chord
scale.
3 - A song doesn't have to stay in one key. If you run into a progression that doesn't
seem to fit the scale, you might be looking at chords for more than one key mixed
together.
4 - There are a lot of variations on this chord scale that are common practice. Some
progressions will substitute major chords for minor chords or vice-versa. Some
progressions will borrow chords from other scales or keys and throw those into the
mix.

Always look for what I call handles (something you can grab ahold of) in chord
progressions. For example, if you see two major chords a whole step apart, there is a
damn good chance that those chords are IV and V. That is the only place within the
chord scale that two major chords appear that way. Study the chart some more and
look for those handles :-)
Now, it's a good idea to work this stuff out on paper. Write the chords down and
arrange them from low to high (it doesn't matter what order they occur in the song).
This will help you to see the w/h-steps between the chords. It's also good practice to
fill in the missing chords. Sometimes one or more of those chords will pop up later in
the song.
Next, you should try to come up with a few of your own progressions using the chord
scale. That will teach you a lot!

Relative Major and Minor

The basics:
For every major scale there is a related minor scale. These two scales are built from
the same notes:

Major Scale: C - D - E - F - G - A - B - C
Relative Minor Scale: A - B - C - D - E - F - G - A

The only difference between the two scales is which note you start with. The minor
scale starts from the sixth note of the major scale. The scales are
called RELATIVE because they share the exact same notes.
Let's look at a couple more keys, and I'm sure you will get the hang of this one:

Major Scale: G - A - B - C - D - E - F# - G
Relative Minor Scale: E - F# - G - A - B - C - D - E

Major Scale: D - E - F# - G - A - B - C# - D
Relative Minor Scale: B - C# - D - E - F# - G - A - B


Now, the relative minor scale is more often called "the" minor scale and treated as its
own separate scale. As such, it's important to understand how the minor scale is
constructed. In order to see how the minor scale is constructed, we have to compare it
to the major scale starting from the same root note as the minor scale:

A major scale: A B C# D E F# G# A
Intervals: 1 2 3 4 5 6 7 8

A minor scale: A B C D E F G A
Intervals: 1 2 b3 4 5 b6 b7 8

Compared to the major scale, the minor scale has a flattened 3, 6 and 7, so the minor
scale yields this formula:

1 - 2 - b3 - 4 - 5 - b6 - b7 - 8

Once you know the formula, you can build the minor scale from any root note without
having to concern yourself with the relative major scale. This is called PARALLEL.
Both methods for arriving at the minor scale are important. Know them well.

The Fingerboard:
Major scale - key of C:



Relative minor scale (key of A minor):




Major scale - key of C:



Parallel minor scale (key of C minor):




The Practice:
Draw up a chart with the notes of every major scale and relative minor scale.
Do it again.
Keep doing it until you don't need a stupid chart to know your scales.
Next, work out the parallel minor scale in every key over the entire fingerboard.
Then, take a break.


Pentatonic scales

The Basics:
Pentatonic scales are the staple of rock guitar. They are also widely used in jazz,
blues, country and bluegrass music. This fact makes pentatonic scales a very
important part of learning to play.
So, what are pentatonic scales?
Technically speaking, any scale composed of five notes can be called a pentatonic
scale (penta = five and tonic = notes). In the real world, however, learning only two
different pentatonic scales will cover 99.9% of the playing situations that you will
encounter. These two scales are referred to as theMAJOR PENTATONIC and
the MINOR PENTATONIC.

The major pentatonic is built from these intervals:

R - 2 - 3 - 5 - 6

In the key of C, that would be:

C - D - E - G - A

This scale works very well over chord progressions that are based primarily on major
chords. Try it over I-IV-V-I, V-IV-I-V or I-iv-IV-V-I. (Check out the Chord Scale
lesson if you have no idea what those Roman numerals mean.)

The minor pentatonic is built from these intervals:

R - b3 - 4 - 5 - b7

In the key of C, that would give us:

C - Eb - F - G - Bb

This scale works well for chord progressions based on minor chords. Try it over iv-ii-
iii-iv or ii-iii-IV-ii.
You can also use minor pentatonic over certain major chord progressions if you want
a "bluesy" sound. Try it over I-IV-V-I or V-IV-I-V. Be careful with the b3 when you
try it this way. The b3 can sound horribly out of place over a major chord. One way to
avoid this is to play the b3, bend, slide or hammer into the 3 and then land on the root.
That is a classic blues lick. (Check out the Intervals lesson if you are unclear on
intervals.)
When it comes to progressions that are based on power chords, the easiest way to
figure out whether to use major pentatonic or minor pentatonic is "by ear". Try one. If
it doesn't work, try the other one. 9 times out of 10, one or the other pentatonic scale
will work perfectly. Often times, both will work, and you can mix and match in the
same solo.

The Fingerboard:
Relative:

C major


A minor


Parallel:

C major


C minor:



The Practice:
Learn the major and minor pentatonic in every key over the entire fingerboard. Pay
particular attention to the difference in sound between the two scales. The major
pentatonic has a sweet, almost country flavor to it. The minor pentatonic has a darker,
more blues sound to it. Knowing this difference in sound will help you to match your
playing to the flavor of the chord progression.
Also, if you already know the major and minor scale well, you can learn to see the
pentatonic scales by leaving out the appropriate intervals (4 and 7 for major, 2 and b6
for minor).
Once you know the scales pretty well, turn on the radio and try improvising lead lines
along with whatever tune is playing. You can do this with any CD you own as well.
The trick is to try and home in on the key of the song. once you determine the key, try
either major or minor pentatonic in that key. Remember, if one doesn't work, the other
one probably will. It doesn't get much easier folks.
Now, impress your friends and neighbors by playing some blues licks in A.


7th Chords

The Basics:
7th Chords are used in a lot of different styles of music, but nowhere are these chords
as prominent as they are in blues and jazz music. The theory behind 7th chords is
pretty simple, but a lot of guitar players seem to get all flustered by them. If you know
the triads (go to the Triads Lesson if you don't know your triads), you should have no
problem learning the 7th chords.
7th chords, as the name implies, are built by adding a 7th interval to the four possible
triads:

Major:

1 3 5 7 Major 7
C E G B written CMaj7, CM7
1 3 5 b7 Dominant 7
C E G Bb written C7


Minor:

1 b3 5 7 minor/Major 7
C Eb G B written Cmin/Maj7, Cm/M7
1 b3 5 b7 minor 7
C Eb G Bb written Cmin7, Cm7


Diminished:

1 b3 b5 b7 minor 7b5 or half diminished 7
C Eb Gb Bb written Cmin7b5, Cm7b5, C

1 b3 b5 bb7(6) Diminished 7
C Eb Gb Bbb(A) written Cdim7, C 7


Augmented:

1 3 #5 7 Augmented 7
C E G# B written CAug7, C+7, CM7#5

There are some things you need to understand about 7th chords.
In the Triads Lesson, I explain how chords are built by stacking 3rds. This formula
holds true for adding the 7th to the chord. That is why you don't find an augmented
chord with a b7 (G# to Bb is a 2nd interval) or a diminished chord with a natural 7.
(Gb to B is a 4th interval. Check out theIntervals Lesson if you don't know intervals.)
Both of these chords are still possible to play, they just have a different name. This is
covered in theExtended, Altered and Other Types of chords Lesson(not posted yet).
Dominant chords cause a lot of confusion. This is due to the fact that the "dominant"
part is understood rather than written. You will hear a lot of players refer to the
majors, minors and "sevens" when they talk about chords. What they are really
referring to is major triads, minor triads and "dominant" 7th chords. These three chord
types are used in a billion songs, and these players have never learned to distinguish
between the good old "7" chord (G7, D7, E7 etc...) and all the other possibilities.
Don't make the same mistake.
Diminished chords are weird because you have to distinguish between half diminished
and full diminished 7th chords. Not only that, but the full diminished 7th chord has
that bb7(called double-flat seven). The bb7 is arrived at by flatting the 7 and then
flatting it again. This gives you the same interval as the 6. The bb7 is covered in
the Symmetrical Scales Lesson(not posted yet).
The hardest part of learning and using 7th chords (as well as extended and altered
chords) is the fact that there is no standard way to write them. In the chart above, I
give you a couple of common ways that you might see the chord written in a song
book or chord dictionary, but every author seems intent on inventing a new system for
naming chords. One guy thinks that major chords should be notated using a triangle,
another guy thinks that a plus sign is the way to go, and the third guy uses some
Egyptian hieroglyph. The only way around this mess is to know your chords well
enough that you can pretty much figure out for yourself which chord is needed.

Now, let's see what happens when we plug 7th chords into the chord scale. (Go to
the Chord Scale Lesson if you don't know what the chord scale is.)

Degree Note Triad 7th Chord Name
I C C E G C E G B Tonic
1 3 5 1 3 5 7
ii D D F A D F A C Supertonic
1 b3 5 1 b3 5 b7
iii E E G B E G B D Mediant
1 b3 5 1 b3 5 b7
IV F F A C F A C E Subdominant
1 3 5 1 3 5 7
V G G B D G B D F Dominant
1 3 5 1 3 5 b7
vi A A C E A C E G Submediant
1 b3 5 1 b3 5 b7
vii B B D F B D F A Leading Tone
1 b3 b5 1 b3 b5 b7

Compare the intervals in each of these chords to the 7th chord chart I gave you above.
You will see that the I and IV are Maj7, the ii, iii and vi are min7, the V is Dom7, and
the vii is min7b5 (half diminished). These are the most commonly used 7th chords.
You need to know them very well, and you need to know where they sit within the
chord scale.
Also, notice that the V chord (Dominant) is the only place that we find the intervals 1
3 5 b7. That is why that particular arrangement of intervals has been given the name
Dominant 7.

The Fingerboard:
Here is a common fingering for each of the possible 7th chords:








For each of these chords, you don't want to play the A-string or the high E-string.
The high E-string is easy to leave out. You just have to make sure you don't hit it
when you strum the chord. The A-srting is a little harder to leave out. What you have
to do is dampen that string with the finger that is playing the low E-string. Do this by
angling that finger so that it lightly touches the A-srting and keeps that string from
ringing. This is easier to do than you may be thinking, so don't be shy. Give it a try.
Also, the correct fingering is given below each chord. Though some of the fingerings
may seem a little awkward, I strongly recommend that you learn to finger the chords
this way. How you finger a chord is very important when it comes to using the chord
within a chord progression. These are the fingerings that have proven themselves
every time.

The Practice:
Learn each of the various 7th chords in the diagrams above. Don't just memorize
them. You gotta know this stuff inside and out. That includes knowing which note is
functioning as which interval. practice switching back and forth between every
possible combination of 7th chord. This will either tie your fingers in knots or
increase your dexterity ten-fold.
Once you have the fingerings that I have shown you down cold, practice moving 7th
chords through the chord scale like this:



If you can play through that without fumbling, you're doing pretty well.

Next, you need to start figuring out other possible fingerings for each of the 7th
chords in all keys.
I strongly suggest that you get yourself a couple of good chord books. These are also
called chord dictionaries. There are so many possible ways to play 7th chords (as well
as extended and altered chords) that a person can easily get lost or overwhelmed. A
good chord book will help you to cut through the confusion and learn the tried and
true fingerings used by most players.
The two books that I personally recommend are:
Chord Chemistry by Ted Greene - This book is the most comprehensive chord
reference I have ever seen. The author goes to the trouble of showing you every
fingering imaginable for each chord. Lucky for us regular folks, he also breaks
them into one section of essential fingerings and another section of "other
fingerings". This book also covers how to use these chords in a thorough and
logical manner, unlike most chord books I have seen.
A Guide to Chords, Scales & Arpeggios by Al Di Meola - This book is
nowhere near as comprehensive as Chord Chemestry, but the manner in which
the chords are organized will help you to learn the essential fingerings faster.
There is also a section on scales and arpeggios and a section where Al provides
excerpts from his own tunes to show you how to use and improvise over the
chords you have learned.
These two books compliment each other perfectly, and will provide you with the
resources you need to really learn your chords.

The next step is to plug these chords into a few standard chord progressions:
Formula Example
ii V I Dm7 G7 CM7
I ii iii ii CM7 Dm7 Em7 Dm7
I ii iii ii V I CM7 Dm7 Em7 Dm7 G7 CM7
iii vi ii V I Em7 Am7 Dm7 G7 CM7
I IV ii vii I CM7 FM7 Dm7 Bm7b5 CM7

As you may have noticed from the examples, 7th chords are used most often in jazz
music. But they also form the basis for blues music. The standard blues progression
doesn't just follow the chord scale though. It utilizes a unique variation.
The standard blues progression is based off of the I, IV and V chords from the chord
scale, but each chord is treated as a Dominant 7 chord. In the key of C, the
progression looks like this:

C7
//// //// //// ////
F7 C7
//// //// //// ////
G7 F7 C7 G7
//// //// //// ////

If you've never seen this way of writing a chord progression, it's pretty basic. The
slash marks represent strums of the guitar strings. Each group of four strums is equal
to a measure or bar. There are 12 bars. You've probably heard people talk about
playing a 12-bar blues. Now you get to find out what it means.
The basic formula for a 12-bar blues is 4 bars of the I chord (C7), 2 bars of the IV
chord (F7) and then back to the I chord for 2 bars. This is followed by what is called
the "turn-around" because the sequence of chords in the final four measures sets you
up to play the whole thing over again. The turn-around consists of one bar for each for
the the V chord (G7), IV chord, I chord and V chord in that order.

Now, you are not relegated to playing jazz or blues if you decide to whip out some 7th
chords. A lot of rock, country and folk tunes throw in the occasional 7th chord to
spice up a progression. The best thing you can do is grab some song books and look
over the chord progressions. You can learn a lot that way.
Also, don't be afraid to experiment. I have used various 7th chords in a lot of stuff I
have written, even some really heavy rock progressions.
You never know 'till you try.


Modes Part I - Introduction

Modes are the cornerstone of great guitar playing. A thorough understanding of the
theory and application of modes will not only enhance your ability to improvise lead
solos, this understanding will enhance your knowledge of all aspects of musical
organization.
In order to begin working with the concept of modes, you must have a firm grasp of
all the materials covered in previous theory lessons. It is especially important that you
are completely familiar with the major scale and how the major scale translates
into intervals. Furthermore, it is important that you understand triads and 7th
chords and how these chords are arranged within the chord scale.

This lesson is divided into four parts:
Modes Part I - Introduction
Modes Part II - Derivative
Modes Part III - Parallel
Modes Part IV - Application



Introduction
Modal theory is very simple once you understand it, and yet, this simple concept has
been the cause of more confusion than any other musical principle in existence.
For most musicians, the terms scale and mode are interchangeable. While there is a
certain amount of truth to this perception, understanding the difference between a
scale and a mode is essential.
A scale can be defined as a series of notes, arranged by order of pitch, between a root
and the octave. Theoretically, any combination of notes between the root and octave
could be considered a scale. On the more practical side, there are a finite number of
note combinations that have gained acceptance in western music. Eastern music, on
the other hand, tends to be more open-ended as far as the note combinations that are
considered acceptable.
A mode can be thought of as a way of manipulating the notes of a scale in order to
generate a greater variety of sounds. The focus of this lesson is on the modes of the
major scale. Modal manipulation of scales other than the major scale is covered
elsewhere.

The major scale in the key of C consists of the notes: C D E F G A B C
The major scale is also composed of the intervals: R 2 3 4 5 6 7 8
Any combination of notes that deviate from the major scale will yield a different
interval structure. The interval structure is what gives the scale its characteristic sound
quality or mood.
Now, when you play a scale from the root up to the octave, the ear arranges the sound
of the scale according to the note you started on and the resolution of the notes at the
octave. The same thing happens when you descend from the octave to the root. If you
change the pitch of the root note to D and keep the interval structure intact, the ear
hears that you played the same scale but from a higher pitch.
Thus, so long as you do not deviate from the interval structure, you can transpose the
scale higher or lower, and the sound quality of the scale remains easily recognizable.
But if you change the interval structure, the resulting scale will have a different sound
quality or mood.
This is where modes come into play.
Modes allow us to generate an interval structure that is different than that of the major
scale and therefore, produce a unique sound quality.
Modes are derived by taking a scale and starting and stopping on a note within the
scale other than the root note.
For example, if we take the C major scale (C D E F G A B C) and start and stop on
the D note instead of the C note we get:
D E F G A B C D
We are still playing the notes of the C major scale, but starting and stopping on
the D note makes it sound as though D is the root note. You may have to play the
scale several times this way before you will begin to hear D as the tonal center. It's
imperative that you do not play any wrong notes at this point, or the effect will be lost.
Now, once the tonal center is established as D, we arrive at a new scale sound. The
scale no longer sounds like C major, because our ear is hearing resolution to D.
If we compare this new scale to D major, we find that it is different from that scale as
well.
The notes of the D major scale are: D E F# G A B C# D
Our new scale contains F natural and C natural which are two very important tones in
the scale. Altering the 3rd and 7th tone of the scale changes the sound dramatically.
This new scale is called D Dorian mode. D is the root note, Dorian is the
classification for this new sound and mode means that we start and stop on a note
other than the root of a parent scale.
The important thing to understand at this point is that this new scale is a "D" scale and
not a "C" scale. Most people, when they first learn this stuff, assume that they should
use D Dorian as a substitute for C major. This is not exactly how it works. Instead of
thinking of this new scale as having anything to do with C, think of it as having only
to do with D.
This will get you understanding the theory behind modes much faster.
Now if we compare the D Dorian mode to the D major scale we find that Dorian has
this interval structure:
1 2 b3 4 5 6 b7 8
The interval structure of a scale is very important. This is what defines the sound
characteristics of the scale. The interval structure also dictates how and when a scale
can be used.
Try this experiment:
Play one octave of the D major scale, at the 10th fret, starting off your index finger,
like this:



Now, flat the 3rd and 7th intervals to make the scale D Dorian mode, like this:



The two scales sound completely different. (Again, you may have to play the Dorian
scale several times to get used to the new sound.)
Now, play this MIDI file and practice switching back and forth from D major
to D Dorian.
D pedal tone


At this point, there are two things to remember:
1 - D Dorian (D E F G A B C D) has the exact same notes as C major (C D E F G A
B C). The only difference is which note within the scale you use as the root.
2 - D Dorian (1 2 b3 4 5 6 b7 8) has a different interval structure than D major (1 2 3 4
5 6 7 8). These two scales have a completely different sound.
If these two points are not clear, go back and read through this lesson again.
Now, to get the Dorian mode, we took the major scale and used the second note
within that scale as the root and thereby created an entirely new scale. That is the
concept of modes in a nutshell.
If we do the same thing with the third note of the C major scale, we get
the E Phrygian mode (E F G A B C D E).
Compared to the E major scale (E F# G# A B C# D# E), E Phrygian has this interval
structure: 1 b2 b3 4 5 b6 b7 8.
Notice that we compared the E Phrygian mode to the E major scale just as we
compared the D Dorian mode to the D major scale. Any new scale must be
compared to the major scale starting from the same root as the new scale in
order to understand the interval structure of that new scale.
E Phrygian mode, played off the index finger, at the 12th fret looks like this:



Play this MIDI file and practice switching between E major and E Phrygian mode:
E pedal tone


The remaining four modes of the major scale are extrapolated in the same manner as
we have already seen. Therefore, I am simply going to list each from their respective
root notes along with the resultant interval structure and leave it to you to work out the
fingerings:
F Lydian mode - 1 2 3 #4 5 6 7 8
G Mixolydian mode - 1 2 3 4 5 6 b7 8
A Aeolian mode - 1 2 b3 4 5 b6 b7 8
B Locrian mode - 1 b2 b3 4 b5 b6 b7 8

Here are MIDI files for practicing the remaining modes:
F pedal tone
G pedal tone
A pedal tone
B pedal tone
Modes Part II - Derivative

Modes are derived from a parent scale. Any scale can function as this parent scale,
but, for practical purposes, our discussion is limited to the modes of the major scale.
This is the most common and useful modal structure in western musical theory.
Modes are a hold-over from Ancient Greek musical theory, and, although they are not
used very often in classical music, their use in rock, jazz and blues music is
indispensable.
The Ancient Greeks had the idea that you could take a parent scale and invert it so
that each of the tones of the scale, in turn, would function as the root note. Thus, they
could generate seven melodic structures, each having a completely different sound
quality as compared to the others, from the same group of notes.
Each of these seven inversions of the scale were associated with the various tribes of
Greece and given the name of that tribe.
The Ancients ordered the scales in descending fashion:
1. C - Ionian
2. B - Dorian
3. A - Phrygian
4. G - Lydian
5. F - Mixolydian
6. E - Aeolian
7. D - Locrian

Oddly, the churches of Western Europe reversed the order of designation:
1. C - Ionian
2. D - Dorian
3. E - Phrygian
4. F - Lydian
5. G - Mixolydian
6. A - Aeolian
7. B - Locrian

This is the order and naming that we use today. You must commit this order and
naming to memory, as you will use this knowledge frequently.
Keep in mind that each of the seven modes listed above share the same key signature.
That is to say, they are all composed of the exact same notes. The only thing that
distinguishes one from the next is the fact that you are using a different note within
the parent scale as the root.
Now, if we change the key of the parent major scale, we still get the same modes, in
the same order, but the root notes will change. For example, let's look at the key of G
major:

1. G - Ionian
2. A - Dorian
3. B - Phrygian
4. C - Lydian
5. D - Mixolydian
6. E - Aeolian
7. F# - Locrian

The key of D major yields:

1. D - Ionian
2. E - Dorian
3. F# - Phrygian
4. G - Lydian
5. A - Mixolydian
6. B - Aeolian
7. C# - Locrian

Ionian will always be first, Dorian will be second, Phrygian is third, etc. The root
notes of each mode will always follow the whole-step/half-step pattern of the parent
major scale.
Take notice, if you haven't already, that the Ionian mode and the parent scale are one
and the same. It's helpful if you think, "way of playing the scale" in place of the word,
"mode." So the "good ol' major scale", as you've always known it, is the first way
or Ionian mode.


In order to see the relationship of the seven modes on the guitar, it's helpful to divide
the major scale into seven patterns along the length of the fingerboard:















If we change the root note in each successive pattern to match the modal structure it
looks like this:

1. C Ionian


2. D Dorian


3. E Phrygian


4. F Lydian


5. G Mixolydian


6. A Aeolian


7. B Locrian



Notice that we are using the exact same patterns, in the exact same order, at the exact
same positions on the fingerboard. The only thing that has changed is the note within
each pattern that functions as the root. (the squares!!)


Here's an exercise to help you understand derivative modal relationships:
Below are seven MIDI files labeled according to the modes. Click on each link in turn
and practice the corresponding pattern ascending and descending, making sure to start
and stop on the correct root.
It is usually easiest to hear the scale if you start and stop on the root that is also the
lowest note of the pattern, but, eventually you will want to practice using the root
on the D-string and the root on the high E-string.
Now, once you are comfortable with the pattern and the sound of the mode, start
improvising short melodic phrases using the mode. You don't have to get fancy. Just
keep it simple and concentrate on using the correct notes. What you're trying to do is
become familiar with the sound of the mode and the idea of playing the notes of the C
major scale with a note other than C functioning as the root.
Good luck!

1. C - Ionian
2. D - Dorian
3. E - Phrygian
4. F - Lydian
5. G - Mixolydian
6. A - Aeolian
7. B - Locrian

Modes Part III - Parallel

Once you completely understand how modes are derived and are becoming familiar
with the distinct sound quality of each, it's important to be able to see them as separate
scales. In order to do this, you need to memorize the interval structure of each mode.
There isn't any easy way to go about this memorization. You just have to keep
plugging away at it until you have it down.
Here are the modes, listed in order of appearance, with the interval structure of each:

1. Ionian - 1 2 3 4 5 6 7 8
2. Dorian - 1 2 b3 4 5 6 b7 8
3. Phrygian - 1 b2 b3 4 5 b6 b7 8
4. Lydian - 1 2 3 #4 5 6 7 8
5. Mixolydian - 1 2 3 4 5 6 b7 8
6. Aeolian - 1 2 b3 4 5 b6 b7 8
7. Locrian - 1 b2 b3 4 b5 b6 b7 8

A useful tool for memorization, as well as, organizing the sound of each mode is to
arrange them in order of "brightness":

Lydian - 1 2 3 #4 5 6 7 8
Ionian - 1 2 3 4 5 6 7 8
Mixolydian - 1 2 3 4 5 6 b7 8
Dorian - 1 2 b3 4 5 6 b7 8
Aeolian - 1 2 b3 4 5 b6 b7 8
Phrygian - 1 b2 b3 4 5 b6 b7 8
Locrian - 1 b2 b3 4 b5 b6 b7 8

Arranged in this order, each successive mode has only one interval that is different
than the mode before it.

Practice the intervals thusly:
Click on the MIDI file below.
Play one octave of the C Lydian mode, at the eighth fret, ascending and descending,
until you are comfortable with the sound and fingering:



Then, change the appropriate interval to make the scale C Ionian (Lower the #4 one
fret):



Once you're comfortable with that, change the scale to C Mixolydian, then to C
Dorian etc...
C pedal tone

With the derivative approach, our objective was to see the modes from different root
notes within the parent major scale. The objective of the parallel approach, however,
is to learn to see all of the modes from the same root.
This is where the unique sound quality of each mode begins to stand out. It is this
unique sound quality that dictates the use of the individual modes. If you attach a
description of this sound quality to each of the modes, it will help you to better
organize your playing.
Here is how I hear the modes, but don't be afraid to come up with your own
description. (Click on each for a short mp3 example over a pedal tone.):

1. Ionian - Very clean sounding, almost to the point of sounding sterile. Your
Grandma would love this one.
2. Dorian - Can sound smooth and soulful or hip and bluesy, depending on how you
use it.
3. Phrygian - Has a very Middle-Eastern or Spanish sound.
4. Lydian - Very clean, like Ionian, but the #4 gives it a more spacey, unresolved
quality.
5. Mixolydian - "Funky" or "folky", depending on how it's used. This mode has been
used for everything from old sea chanteys, to a lot of '70s rock tunes.
6. Aeolian - Dark and sad like those old cowboy songs, or tough and mean as used in
a lot of heavy-rock songs.
7. Locrian - The real ear-twister of the bunch. Can sound Spanish like Phrygian, but
much darker and more unresolved.


Now that we have liberated the modes from their parent scale, it's much easier to
transpose them into other keys. For example, if we transpose each of the modes to
the key of G and play them at the third fret, it looks like this:

1. Ionian - 1 2 3 4 5 6 7 8


2. Dorian - 1 2 b3 4 5 6 b7 8


3. Phrygian - 1 b2 b3 4 5 b6 b7 8


4. Lydian - 1 2 3 #4 5 6 7 8


5. Mixolydian - 1 2 3 4 5 6 b7 8


6. Aeolian - 1 2 b3 4 5 b6 b7 8


7. Locrian - 1 b2 b3 4 b5 b6 b7 8



Take a good look at each of the patterns in the example, and you will notice that they
are the exact same patterns that we have already used in thederivative section of this
lesson. They're even in the same order. What has changed is that they are all being
played from the same root (G at the third fret, low E string).
Patterns are a very useful tool on the guitar, so long as you don't let the patterns
do all the work for you.
Becoming a skilled player is much more than whipping out your favorite pattern every
time you take a solo. You've got to step beyond the patterns and understand
the intervals that you are playing, as well as, how those intervals function,
both harmonically and melodically, within the context of the music you are playing.
Eventually, you will need to be able to see the interval structure of each mode
covering the entire fretboard:

1. Ionian - 1 2 3 4 5 6 7 8


2. Dorian - 1 2 b3 4 5 6 b7 8


3. Phrygian - 1 b2 b3 4 5 b6 b7 8


4. Lydian - 1 2 3 #4 5 6 7 8


5. Mixolydian - 1 2 3 4 5 6 b7 8


6. Aeolian - 1 2 b3 4 5 b6 b7 8


7. Locrian - 1 b2 b3 4 b5 b6 b7 8



Now, click on the MIDI file, pick a mode, and learn those intervals!
G pedal tone

Modes Part IV
Applying modes to chords and chord progressions

Parallel
A parallel approach to chords and chord progressions is probably the best place to
start, although, in the long run, this approach is more applicable to jazz and country-
style playing than it is to rock or blues-style playing. Players of jazz and country tend
to take things one chord at a time, utilizing different scales for each chord in a chord
progression. Rock and blues players, on the other hand, tend to utilize one scale that
fits the entire chord progression.
Be that as it may, it is important to have a thorough understanding of which chord
types can be constructed from each of the modes.

Chords
Mode Triad 7th 9th* 11th* 13th*
Ionian Maj Maj7 Maj9 Maj11 Maj13
Dorian min min7 min9 min11 min13
Phrygian min min7 min7(b9) min11(b9) min11(b9b13)
Lydian Maj Maj7 Maj9 Maj7(#11) Maj13(#11)
Mixolydian Maj 7 9 11 13
Aeolian min min7 min9 min11 min11(b13)
Locrian dim min7(b5) min7(b5b9) min11(b5b9) min11(b5b9b13)
* 9th, 11th and 13th chords are covered in the Extended, Altered and Other Types of
Chords Lesson. (not posted yet)

Knowing which chord types can be constructed from each mode will help you to
apply the modes in an actual playing situation. Let's say for instance that you
encounter a Bmin7 chord. According to the chord chart, three different modes can be
associated with a min7 chord, Dorian, Phrygian and Aeolian. This means that
for Bmin7, you could play the B Dorian mode, the B Phrygian mode, the B Aeolian
mode, or any combination of the three possibilities.
There is an entire universe of harmonic and melodic possibilities waiting to be
discovered within the modes of the major scale. This chart is only a place to start.


Derivative:
A great majority of the popular songs that you are likely to encounter have been
written around modal chord progressions. In order to understand this modal structure,
we have to take a look at the chord scale.
Just like modes, the secret to using the chord scale is which chord you resolve the
progression to. (which chord the progression seems to come to rest on)
Below is a set of progressions using only the chords of the chord scale. Each
progression, in turn, resolves to a different chord from the chord scale.

I - IV - V - I
ii - iii - IV - I - ii
iii - ii - vi - IV - iii
IV - vi -V - iii - IV
V - IV - I - V
vi - V - IV - V - vi

You will, undoubtedly, notice that I have failed to include the vii chord in any of these
progressions. The vii chord is a difficult chord to use, and practically impossible to
resolve a chord progression to. But that doesn't mean that you should just forget about
diminished chords. Have a listen to the intro to Jimi Hendrix's Purple Haze, and you
will hear a very effective use of the diminished sound.
So, what does this chord scale stuff have to do with modes?
It's really quite simple. All you have to do is match the appropriate mode to the chord
that the progression resolves to and you have it made in the shade. Just remember:

chord number = mode number

If the progression resolves to the I chord, the best mode to use is Ionian from the
same root as the I chord.
For example, a I - IV - V - I progression starting with C would be:

CMaj - FMaj - GMaj - CMaj

The progression resolves to I, and the I chord is CMaj. Therefore, the best mode
would be C Ionian.
If we do the same thing with a iii - ii - vi - IV - iii progression starting with C, we get:

Cmin - Bbmin - Fmin - DbMaj - Cmin

The progression resolves to iii, and the iii chord is Cmin. So the best mode to use is C
Phrygian.
The hardest part of all this is to identify the chord of resolution as belonging to the
chord scale. This is why you have to know the order of the chord types and how they
are arranged via whole-step and half-step.
Let's say, for example, that you encounter a repeating pattern of CMaj - BbMaj -
CMaj and are expected to solo over those chords. By virtue of repetition, it's a good
bet that CMaj is the chord of resolution. The only thing left is to figure out which
scale to use.
Chord scale:

I ii iii IV V vi vii VIII
w w h w w w h
Maj min min Maj Maj min dim Maj

There's only one place within the chord scale that has consecutive major chords, and
those two chords just happen to be a whole step apart. So, theCMaj is V, and
the BbMaj is IV. Since the CMaj is home base, and it's functioning as V, the best
scale choice is C Mixolydian. (V chord = 5thmode)
But, if we change the CMaj to Cmin, an interesting thing happens.
Progression:

Cmin - BbMaj - Cmin

Chord scale:

I ii iii IV V vi vii VIII
w w h w w w h
Maj min min Maj Maj min dim Maj

Now we have a progression that could fit into two places within our chord scale:

ii - I - ii or vi - V - vi

That means that you could use either C Dorian (2nd mode), C Aeolian (6th mode) or
both! The choice is your's, but you would do well to consider which combination
sounds most appropriate for the situation. You might find that the bass player or the
piano player are using the Dorian mode for fills and/or chord extensions underneath
your solo. If you play the Aeolian mode over the top of this, the results might not be
quite what you expected. You've got to use your ears!


Sooner than later, you're going to run into a progression that doesn't quite fit our chord
scale. There are many variations on, and extensions to this basic structure that have
developed over time, but that is beyond the scope of this lesson. The best thing that
you can do is to pick up some books on chords and chord progressions. There is a
wealth of information available on this subject.
Two books that I highly recommend are:
Chord Workbook for Guitar Volume One : Guitar chords and
chord progressions for the guitar by Bruce E. Arnold. This
book Teaches you not only the theory behind chords, but how to
use the chords that you learn in chord progressions. Click here to
buy this book at amazon.com.
Chord Workbook for Guitar Volume Two: Guitar Chords
and Chord Progressions For The Guitar by Bruce E. Arnold.
This book picks up where volume one leaves off. If you are
serious about learning chords, and chord progressions, these
books will last you a very long time!Click Here to buy this book
at amazon.com.

Also, when it comes to rock music, often times, power chords (no 3rd) are used in
place of major and minor chords (diminished too). In that case, the only thing you
have to go by is the whole-steps and half-steps. This can make thing more difficult,
but it also opens up greater possibilities for using more than one scale in your solo.


Below, are two MIDI files that are built around the concepts of derivative and
parallel:
The Derivative file starts with C Ionian, then cycles through D Dorian, E
Phrygian, F Lydian, G Mixolydian, A Aeolian and ends withB Locrian.
The Parallel file also starts with C Ionian but then cycles through C Dorian, C
Phrygian, C Lydian, C Mixolydian, C Aeolian, and, finally, C Locrian.

I've tried to make each modal shift as distinct as possible, so that there is no confusion
as to when to change modes. It's up to you to make sure that you have the modes
learned well enough that you are not fumbling around for the correct notes.
Listen to each file all the way through first and familiarize yourself with the modal
shifts. (you'll hear them!) Then, practice soloing over each progression:

Derivative
Parallel


I would advise you to spend a lot of time with this lesson on modes. There is a
lifetime of learning and understanding contained within these four pages. If you give
it a cursory glance, your knowledge of modes will be cursory. Don't assume anything.
Explore the possibilities.
Along with your study of these pages, I recommend that you purchase these two
resources:
Modes: No More Mystery by Frank Gambale on VHS video. In
this video, Frank demonstrates how to construct modal chord
progressions, and then solos over each progression with the
appropriate mode. If you are not familiar with Franks style, let me
just say that this dude can really play! Click here to buy this video
at amazon.com.
The Advancing guitarist: Applying Guitar Concepts and
Techniques by Mick Goodrick in paperback. This book takes the
same concepts provided in this lesson and shows you how to
expand these concepts into other scales. This book will truly open
up the fingerboard for you!Click here to save 20% off the cover
price of this book at amazon.com.

Organizing Music On The Guitar Fingerboard

Having an organized approach to triads, 7th chords, pentatonic scales and modes will
help you to better utilize these structures in your own playing. All of the theory that
you could possibly learn will never so you a bit of good, unless you can turn that
theory into music. Music is what it is really all about.

Introduction:
My own approach to organizing the fingerboard is based on the triad. I consider the
triad to be the most fundamental musical element, because it is the triad that defines
tonality, especially in popular music.
Let's take a look at the four possible triads:

major: R - 3 - 5
minor: R - b3 - 5
augmented: R - 3 - #5
diminished: R - b3 - b5

Most people view these as four unrelated entities, but each of these chords belongs to
only one of two different categories - major or minor. This is determined by
the 3rd interval: 3 = major, b3 = minor.
The 3rd interval has so much personality that it overshadows any alterations or
additions made to a chord. Alterations and additions help to influence the character of
a chord, but the chords true nature is dictated by the 3rd.
Seen in this light, practically any piece of music can be said to be a simple matter of
playing major things, minor things, or a combination of the two. I used the word
practically, because there are things that some people play that do not fit easily within
this structure. I'll leave it up to you to decide whether you think that sort of thing
qualifies as "music" or not.
So, the first stop on our journey across the fingerboard is to take a look at triads.
Click here to continue.


Melodic Patterns

Practicing melodic patterns (sometimes called sequences) is one of the best methods
available for learning scale fingerings. Their practice will also aid in learning the
sounds of the various scales, as well as, help you to improvise lead lines from
different scales.
The concept is very simple, the variations endless.

So, what are melodic patterns?
A melodic pattern is a short melody or sequence of intervals that you play off of each
successive tone of a scale, both ascending and descending.
For example, let's look at a popular sequence:



This simple pattern has been used in one form or another for hundreds of years. You
can hear it in a lot of classical compositions.
The important thing to look at is the concept. The melody is really only two notes, the
first tone of the scale followed by the third tone of the scale. Then you play the same
idea off of the second tone (this time followed by the fourth tone) etc...
Now, if you continue all the way across the scale pattern it would look like this:



Descending, the sequence looks like this:



Notice that we didn't change the order of the notes within the sequence itself.
In other words, if our sequence ascends like this:



It descends like this:



Don't reverse the order of the notes within the sequence like this:



That variation will be covered by a different sequence.

What follows is a collection of 112 sequences.
All examples are shown using the C Major scale, but you should practice any
sequences that you learn in all 12 keys and through all 7 modes, as well as any other
scales that you are working on, in all possible fingerboard positions.
I have only shown each sequence from the first two notes of the scale. It's up to you to
work out the pattern and apply it to the rest of the notes of the scale. The easiest way
to do this is to look at each note and determine which degree of the scale it functions
as (think intervals), and then move the whole thing up to the next note of the scale.

The double bar-lines in the standard notation and TAB seperate one sequence from
the next. Each pattern is also numbered for your convenience.

Melodic Patterns Part I - Scale Sequences 1 Through 30
Melodic Patterns Part II - Scale Sequences 31 Through 52
Melodic Patterns Part III - Scale Sequences 53 Through 73
Melodic Patterns Part IV - Scale Sequences 74 Through 93
Melodic Patterns Part V - Scale Sequences 94 Through 112