Imi [SM aS) 00S ten) SP ea mm ser Ng for GUITARIST: GUIDBO ©. PRACTICAL, USEFUL THEORY FOR GUITAR PLAYERSay aol 3) THEORY FOR GUITARISTS CONFUSING TERMS Confusing terms can happen when guitarists use different words to describe the same thing. Sometimes they are technically accurate, and sometimes they are more “Street” accurate. m= The distance of 2 frets on guitar can be called a Whole Step or a Whole Tone, while the distance of 1 fret can be called a Half Step, a Half Tone or a Semitone. = Enharmonic note This is what we call a single note that can have two names. At or Bb - exactly the same pitch but called two different names. Which one you use will depend an what key the song is in. = Scale or Chord Patterns, Forms, Position, Shape, Sequence, Fingering. These are often used interchangeably to describe how or where ta play a Scale or Chard on the neck. = “Flat the 3rd” or play a “minor 3rc This basically means the same thing. The interval of a minor third is played by taking a Major third interval and lowering or “flatting” it by one fret. m= Ifyou move a note up one fret higher in pitch (one fret towards the bridge] - this can be referred to as: Raising, Sharp that note, Augmented. If you move a note dawn one fret lower in pitch it can be called: Lowering, Flat that note, Diminished. = Ifyou are jamming with some friends and one says, “This chard progression is in G," what does that really mean? When guitarists say that, they usually mean that G is the “tone center” or feels like home base that you resolve to. However, that doesn’t always mean it is in the “key” of G. It could be based on a G chard that is not the root of the Major scale, which might make it a modal progression. Diatonic When someone tells you to “Play diatonic” - that means only play notes or chords that are in the particular key you are in. In contrast, if you hear someone say they are playing “outside,” that means they are playing notes that are not found in that key.HEORY FOR GUITARISTS @ STRE=T THEORY NAVIGATOR MUSICAL ALPHABET A AsBh B C Ce0, OD OeEp —E F FeGp G GeAD ASAG ager Fe preety SO), OD, LENDS @ STRE T THEQRY NAVIGATOR FRETBOARD Knowing the notes on the fretboard is important for many reasons. Scales and chords have their “root" notes on different strings in various places on the nec le to quickly 2 identify what note is where is a crucial skill "Moveable" chords and scales are shapes that can be played anywhere on the neck using the 3 same fingering. The letter name of the chord or scale changes depending on where you play it based on the "Root" note. Use the fretboard chart as a reference until you get the positions of the notes in your memory. As an example of how to use a moveable c with this chart; If | am playing a Major 7 with the root note on the Sth string, if | play that chord with the root note on the 7th fret, that 6 would make it an E Major 7. If | move it up to the 8th fret it becomes an F Major 7 ~ because the oot note (the note on the Sth string) is now °F This works with all moveable chords and scales, so knowing where your root is and understanding where notes on the fretboard can be found is a powerful concept to have in 8 your guitar toolbox. 10 11 12HEORY FOR GUITARISTS Note Names: 6th & 5th Strings Demonstration Musi by Jeff Scheetz Transcribed by Glen Morgan J=120 Ex, 1a: 0:49 Ex. 1b: 1:04 6 8 Fuse G Hab Ak ase 8 ku: 2:19 cor» omen e i 1% 5th String (not displayed in video) | = E =STREET THEORY FOR GUITARISTS Octave Shapes. Each set of two notes gives you two of the same letter name notes one octave apart. G Octaves C Octaves 3 5S 7 3 5 7 F Octaves Bb OctavesSy eon tapli, STREET THEORY FOR GUITARISTS Za Finding Octaves Demonstration Music by Jeff Scheetz ‘Transcribed by Glen Morgan 120 Ex. 12 0:28 Ex: 1b 1:28 Ex. 2b 2:37 Ex. 2¢ 2:46 = Ex, 64:32 Ex. 74:50 Ex, 8 5:02 Ex,9 6:03, Ex, 10 6:25 ALU Righs Resewed= Intemational Copyright Si ans ay edi = eI rs Lu. a art aa ae a ma al Chromatic Scale Pattern : ° © oHEORY FOR GUITARISTS The Chromatic Scale Demonstration Music by Jeff Scheetz Transcribed by Glen Morgan J=100 Ex. 10:11 . . Ex. 20:31 717 Iie 70 Te 6 ae Ex,3a 1:25 Ex, 3b 1:40 seteeeeHEORY FOR GUITARISTS Ex, § 2:05 Bm? J-120 Ex 6237 6-543. = | . non = [STREET THEORY FOR GUITARISTS © STR==T THEORY NAVIGATOR MASTER CHARTHEORY FOR GUITARISTS Major Scale Formula. Whole Step, Whole Step, Half Step, Whole Step, Whole Step, Whole Step, Half Step - W W H W W WH - In this case starting on G creates the G Major Scale. [Tel atel tele l—tel elHEORY FOR GUITARISTS The Major Scale Demonstration Music by Jeff Scheetz J ‘Transcribed by Glen Morgan =100 Ex. 11:14 Ex.2201 Ex,32:41 E por = | - Ex.43:17 Ex 5449 Ex. 65:02 =AMOR RAC Intervals in the first octave of the Major Scale Major Scale IntervalsSmI eV ZOLA EID Understanding Intervals Demonstration MosicyJmScheet Tramsctibe by Glen Morgan J=100 Ex. 1 0:49 Second Ex, 1b 0:56 Third > % a z 7. Ex. 1¢ 1:01 Fourth Ex. 1d 1:07 Fifth o > 3 z Ex. le 1:09 Sixth Ex. If 1:12 Seventh Ex. Ig 1:14 Octave > = = é z z Ex, 2a 2:40 Major Third Ex. 2b 2:42 Minor Third (Flat Third) = = = oe % 7. % Ex. 34 3:41 Diminished Ex.3a4:04 Augmented sa SiC‘: l(<‘C Ce i‘HEORY FOR GUITARISTS Visualizing intervals. The notes with circles around them are in the one octave G Major Scale pattern. All intervals are the distance between the Root note on the 6th string at the 3rd fret and any other note. IntervalsHEORY FOR GUITARISTS Interval Position Shapes Demonstration MosicyJmScheet Tramsctibe by Glen Morgan J=100 Ex. 10:42 Ex, 2 1:02 Fifth (G5) os 2a 5 2s z Bx. 22:06 Major 3rd Ex. 42:36 Minor 3rd Maja Ma ea Mo ara Ex. Sa3:15 Maja Port ath Sharp 4 Pets Minot Mais Ex. $0 3:20 E P ES ESSe oa agesoay Fea STREET THEORY FOR GUITARISTS BUILDING CHORDS We will start with Triads [a Triad is a 3 note chord) We take notes from our Major scale to create chords. Every chord has a “formula” or a “blueprint” far how to create it, ur Major chord is built from the First, Third, and Fifth note of the scale. It is represented like this: rrr eter iey Major aas ‘ur minor chord is built from the First, Flat Third, and Fifth note of the scale. It is represented like this: irs eer Minar abaHEORY FOR GUITARISTS Building Chords Demonstration Music by Jeff Scheetz J ‘Transcribed by Glen Morgan =100 Ex. 1 1:03 G Maj Chord % e % Ex. 22:07 A Maj Chord . % . Ex, 3 2:55 G Min Chord z é z % Ex. 43:40 G Maj Chord sa (‘TE (CW SU is«‘WRoot 6 or "E Form" Barre chords minor Dom 7th minor 7th Major 7th a Root 5 or "A Form" Barre chords minor Dom 7th minor 7th Major 7th x aoSMI, eon Za eg eraw 12-1 @) 0) AUIS Root 5 and 6 Barre Chord Shapes Demonstration Music by Jeff Scheetz Transcribed by Glen Morgan J=100 Ex, 18 0:37 Root 6 G Maj Chord Ex. 1b 1:09 Root 6 C Maj Chord Ex. le 1:20 Root 6 A Maj Chord G f A Aexkee 8G Ex. 2a 1:57 Root 6 G Min Chord Ex. 2b 2:11 Root 6 E Maj Chord Ex. 2c 2:16 Root 6 E, Gm E Em in Chord mee ae A Ex, 3a 3:03 Root § C Maj Chord Ex. 3b 5:05 Root § C Min Chord Ex. 3c Cm c Root 6 C Maj Chord == 3 £ 3 Copyright ©2017 Trg ne ant Jel Sees u ALU Righs Resewet=Inerationn Copyright SeoredHEORY FOR GUITARISTS G Major Chord Scale (Harmonized Scale) G Major Aminor B minor 3fr. C Major D Major E minor : oe : far F# minor b5 14fr.HEORY FOR GUITARISTS G Major Chord Scale (Harmonized Scale) with Root 6 and Root 5 chords G Major Aminor B minorHEORY FOR GUITARISTS Harmonized Scale Demonstration Musi by Jeff Scheetz Transcribed by Glen Morgan J=100 Ex. 1a 2:05 G Major (13 5) Ex, 1b 2227 3 337. Ex. 2a 2:46 A Minor (1 b3 5) 3 = 3 7. . — Ex. 2b 3:13 Min 3rd Interval Ex. 2¢ 3:36 Perfect Sth Interval Ex. 2d 3:54 AmSy eon eg eraw 12-1 @) 0) AUIS Ex, 3a $:21 B Minor (1 b3 5) Ex. 3b 5:53 Ex. 4a 6:05 C Major (1.3 5) Ex. Sa 6:17 D Major (1.3 5) Ex. Sb 6:23 Ex. 6a 6:25 K Minor (1 b3 5) Ex. 6b 6:29 EmSy eon SMB Sl) \ Axe. ACIDS ey r UIT / Ex. 7b 7:56 Ex, Je 8:29 FE dim Ex, 84 8:50 Harmonized G Major Seale G Am Bm c D Em. ¥# dim G Ex. 8b 9:28 Alternate Positions G Am Bm 1 5. E 6 3 *G Major Chord HEORY FOR GUITARISTS Scale (Harmonized Scale) with Root 6 and Root 5 chords using Roman Numerals instead of letter names ofr. viiSTREET THEORY FOR GUITARISTS © STR==T THEORY NAVIGATOR MASTER CHARTSy eon STREET THEORY FOR GUITARISTS Za Bra Roman Numerals & Progressions Demonstration Musi by Jeff Scheetz Transcribed by Glen Morgan J=100 V4May) Win wn) WO) Val) vin) iim) Ex.1039 G Am Fedim G gone & -80 Ex. 2a 4:47 "Lean On Me” Bass Line Ex. 2b §:28 "Lean On Me" chords o AmBm Bm Am G Am Bm AAV Rights Reseed Intemational Copyright Seoued -Root 6 or "E Form" Barre chords minor Dom 7th minor 7th Major 7th a Root 5 or "A Form" Barre chords minor Dom 7th minor 7th Major 7th x aoTHEORY FOR GUITARISTS © STREET THEQRY NAVIGATOR THREE MAIN CHORD FAMILIES Major-135 Minor -1b3 5 Major? 1357 Minor? -163 567 7th-19.8b7 Majors 13578 Minor3- 163.5 673 ath-1asb79 ‘What makes each ofthe families of chords unique? Major 37 Minor - ba b7 Dominant -3 67UA caclicecns aelin: STREET THEORY FOR GUITARISTS ® sTRE T THEQRY NAVIGATOR CHORD FORMULAS erent None Major 13s Maj Major 6th 1356 Mair Major 7th 1357 Maia Major sth 13579 ee ‘Major 6/8th 13568 ™ Minor 1635 m6 Minor 6th 10356 mt Minor 7th 13567 ms Minor Sth 1035679 maa Minor 12th 13567311 7 Dominant 7th 1ase7 68 Dominant 7th/6th 135607 8 Dominant sth 135079 u Dominant 12th 13507911 13 Dominant 13th a35b791213 adea ‘Added 9th 1358 addi Added 21th issu madda Minor Added 3th 1359THEORY FOR GUITARISTS @® STRE=T THEORY NAVIGATOR CHORD FORMULAS (CONTINUED) Stee trey Suspended end suse suse fed ath 145 im Diminished Triag babs 1a Augmented TriadSy eon Za eg eraw 12-1 @) 0) AUIS 7th Chord Theory Demonstration Music by Jeff Scheetz ‘Transcribed by Glen Morgan 100 Ext :27 G Maj7 (1387) z 357 37. Ex.21:27G7(135b7) 39 G7 (1b3 $67) Ex. 4a 2:40 G Major (13 5) G Gm 243, G Minor (1 b3 5) ALU Righs Resewet=Inerationn Copyright SeoredSMI, eon Za eg eraw 12-1 @) 0) AUIS Ex. 4e2:48G7(135b7) Ex. 4d 3:04 Gm7(1b35b7) Ex. 4e 3:10 Gmaj7 (13.57) G7 Gm7 Gnas? Gmaj? Ex, $a 3:58 C Major (135) Ex. Sb 4:00 G Minor (1 b3 5) 07 C7 (1357) c Cm = 2 5 g Ex, Sd 4:12 Cm7 (163 5 b7) Ex, S¢ 4:16 Cmaj7 (1357) cm? i = + 4 + & +HEORY FOR GUITARISTS 1 t ¢ : br zs FETs) Gmaj7Se a oaigenca pe ee 2 0), O) LEON EXTENDED CHORDS Extended Chords: When you go beyond the 7th chords, these chords are called “extended.” For example; th chords, 11th chords or 13th chords. Altered Chords: When you “alter” a note in a chord, by sharpi sounds. The most common notes to alter are the Sth and the flatted or sharped (bE, bS — or #5, #8) or one of each (ES, #9) these alterations. or flatting it, you get different ‘A chord can have both notes up to your ear when to use Chord Substitution: One chord can be substituted for another. The general rule is that the chord youre using to replace another should have at least two of the same notes int. Once again, you ave to use Your ear to determine when to use substitutions, and which chords to substitute.HEORY FOR GUITARISTS Extended, Altered & Chord Subs Demonstration Musi by Jeff Scheetz Transcribed by Glen Morgan J=100 1 a sor . oH 8 Ex, 1 0:29 Extended Chord 24 1:00 2b 1:05 G7 G9 38 2:07 3b 3322 36 2:30 es nS) Gis)Sy eon Za eg eraw 12-1 @) 0) AUIS 402,48 4b 3,00 403322 7G 9) ETE 9) ATG 569) ATE S\b 9) pe 28SMI, eon Za eg eraw 12-1 @) 0) AUIS 2 2 % + ° o 2 2 3 2 6: &HEORY FOR GUITARISTS The Most Important Notes Demonstration Musi by Jeff Scheetz Transcribed by Glen Morgan J=100 a-33, Ex ts210 Ex. th 2:14 Guide TonesEx. 12:25 Ex. 1d Guide Tones Grcuinenen & Ol Ex. tb 1:15 Am FF 5 fonian Dorian Phrygian Lydian Mixotydian Aeolian Loerian Ex. 2 Modal Tonal Centers = =NSS SO) Aer RUINS Major Triad Inversions A Major Root D Major Root G Major Root C Major Root Position Position Position Position 3\ aude 3] 5 5 5 7 7 7 A Major 1st D Major 1st G Major 1st Inversion Inversion Inversion S 5 5 q re] HEE Coan I D Major 2nd G Major 2ndNSS SO) Aer RUINS A minor Root Position A minor 1st Inversion A minor 2nd Inversion minor Triad Inversions D minor Root Position D minor 2nd Inversion 12 G minor Position TT TT tt G minor Inversio} Root ist G minor Inversio 2nd 12 C minor Root Position C minor 2nd InversionSy eon Za eg eraw 12-1 @) 0) AUIS Inversions: Low Three Strings Demonstration Music by Jeff Scheetz ‘Transcribed by Glen Morgan 12 0:38 Root Position A Chord Ex. 1b 1:02 Ist Inversion A Chord Alc ALU Righs Resewet=Inerationn Copyright SeoredSy eon Za eg eraw 12-1 @) 0) AUIS Ex. 3a 3:15 Ex. 3b 3:20 ACh EIB ‘Alc D Ex, 4a 4:52 Major fo Minor Ex. 4b $:03 Major to Minor Alce 208 Major to Minor Amit . FE Pr . 22NSS SO) Aer RUINS Major Triad Inversions A Major Root D Major Root G Major Root C Major Root Position Position Position Position 3\ aude 3] 5 5 5 7 7 7 A Major 1st D Major 1st G Major 1st Inversion Inversion Inversion S 5 5 q re] HEE Coan I D Major 2nd G Major 2ndNSS SO) Aer RUINS A minor Root Position A minor 1st Inversion A minor 2nd Inversion minor Triad Inversions D minor Root Position D minor 2nd Inversion 12 G minor Position TT TT tt G minor Inversio} Root ist G minor Inversio 2nd 12 C minor Root Position C minor 2nd InversionSMI, eon Za eg eraw 12-1 @) 0) AUIS Inversions: All Strings Demonstration Music by Jeff Scheetz J ‘Transcribed by Glen Morgan =100 Ex. 1a 0:29 Root Position D Chord Ex. 1b 0:37 1st Inversion D Chorifx. 1c 0:39 2nd Inversion D Chord D Dir DIA px. 2a 0:54 Root Position G Chord Ex. 2b 1:04 Ist Chord G GiB |:54 Root Position C Chord Ex. 3b 2:00 1st Inversion C ChordEx. 3¢ iE CG 203 Ind Inversion C Chord Copyright ©2017 Trg ne ant Jel Sees 12 ALU Righs Resewet=Inerationn Copyright SeoredSy Za Nae eon STREET THEORY FOR GUITARISTS 22gh a Rs lla Slash, Add and Sus chord progression Csus2/G D/F# Cadd9/E ° ° °Sy eon Za eg eraw 12-1 @) 0) AUIS Slash, Add, and Sus Chords Demonstration Music by Jeff Scheetz ‘Transcribed by Glen Morgan 100 Ex. 1b 1:03 Dire Ex, 2a 2:08 Ex. 2b 2: Ex. 3a 3:22 Dominant 9 Formula Ex. 3b 3:46 Add 9 Formula ALU Righs Resewet=Inerationn Copyright SeoredSy eon Za eg eraw 12-1 @) 0) AUIS Ex. 3e 4:04 Cadd9 Ex. 3d 4:21 C Dominant 9th Caddo co Ex. 4a 4:59 Major Ex. 4b Sus? Ex. de Sus4 Ex. Sa 6:07 Ex.$e6:42 Ex. Sd Ex. Se 6:82 csus2iG. DIF cadaoie Dsus4 Dsus? verre al J=120 bx. 5g7:03SMI, eon Za eg eraw 12-1 @) 0) AUIS Csus2/G DIF cadagre Dsus Dsus?Sw BO Aca ages Paarl \==1 ily AO). MnO) ULa APY) VOICE LEADING Voice Leading: This is the concept of how each line in a harmony or chord progression moves. Experiment with Voice Leading by playing two chords and studying where each note moves when you go from chord to chard. See if yau can find other ways to move between the chords by using inversions to find other mavements. You can also think of a single note line and try to “vaice lead” your way from one note to the next through a series of movements. Remember, every time yau are playing a song you are utilizing voice leading, so you just need to pay close attention to how notes are moving around within chords to make your playing sound more interesting.Sy eon Za eg eraw 12-1 @) 0) AUIS Voice Leading Demonstration MosicyJmScheet Tramsctibe by Glen Morgan Copyright ©2017 Trg ne ant Jel Sees 12 ALU Righs Resewet=Inerationn Copyright SeoredHEORY FOR GUITARISTS Ex. 26 4:15 Ex.3 5:48 ‘ Ge Dia,STREET THEORY FOR GUITARISTS minor pentatonic (Shown as G minor pentatonic) 1st Pattern 2nd Pattern 4th PatternSy eon Za eg eraw 12-1 @) 0) AUIS Minor Pentatonic Demonstration Music by Jeff Scheetz ‘Transcribed by Glen Morgan J-8 | Bx la 16 Ex tb222 Ex, 16 2:28 G Minor Pentatonic = 110 f= Be “ja SA Minor Fett fa J Gos pate E oan Copyright ©2017 Trg ne ant Jel Sees 12 ALU Righs Resewet=Inerationn Copyright SeoredSy eon Za eg eraw 12-1 @) 0) AUIS 22STREET THEORY FOR GUITARISTS Major pentatonic (Shown as Bb Major pentatonic) 1st Pattern 2nd Pattern 3rd Pattern 4th Pattern Gee) Bap Sth PatternHEORY FOR GUITARISTS @® STR==T THEQRY NAVIGATOR G MINOR AND Bb MAJOR PENTATONIC PATTERNS. areca G Minor & Bb Major pentatonic patterns —@5\ 4 a et 1 ot i | G Minor & 8b Major pentatonic patterns SeHegeerecec? 1st pattern of G Minor Pentatonic or 5th pattern of Bb Major Pentataniceas STREET THEORY FOR GUITARISTS @® STRE=T THEORY NAVIGATOR G MINOR ANO Bb MAJOR PENTATONIC PATTERNS (CONTINUED) 2nd pattern of G Minor Pentatonic or 1st pattern of Bb Major Pentatonic 3rd pattern of G Minor Pentatonic or 2nd pattern of Bb Major Pentatonic 4th pattern of G Minor Pentatonic or 3rd pattern of Bb Major PentatonicHEORY FOR GUITARISTS @® STR==T THEQRY NAVIGATOR G MINOR AND Bb MAJOR PENTATONIC PATTERNS (CONTINUED) HALE Sth pattern of G Minor Pentatanic or 4th pattern of Bb Major PentatonicSy eon Za eg eraw 12-1 @) 0) AUIS Major Pentatonic Demonstration MosicyJmScheet Tramsctibe by Glen Morgan Ex, 1a 0:35 Ex, Ib Bb Major Pentatonic Root Position Ex, 1¢3:21 Bb Major Pentatonie Posi Ex. 1d 5:43 Bb Major Pentatonic Po fon 5 E | | E Copyright ©2017 Trg ne ant Jel Sees u ALU Righs Resewet=Inerationn Copyright SeoredSe a oaigenca pe ee 2 0), O) LEON PENTATONIC SOLOING APPLICATIONS Youcan use the minor pentatonie over 2 minor chord, and the Major pentatonic over a major chord. However in the blues, you are often playing all Major sounding chords, Dominant chords for example. ‘And many people play'the minor pentatonic scale ver the entire biues progression. That works In general and can give you a standard “blues” sound ta your playing. If you prefer to “follow the chords" a bit more, try this formula: For a G blues using G7 as the | chord, C9 as the IV chord, and D9 as the V chord... Over the | chord play the G Major pentatonic scale ver the V chord play either the G Major or the G minor pentatonic scale Your “Blues Scale" is also called the minor pentatonic with a b5, and it can be used in most places you would use a minor pentatonic scale. Use your ear to determine when it sounds best.HEORY FOR GUITARISTS Pentatonic Application Demonstration Music by Jeff Scheetz ‘Transcribed by Glen Morgan Ex. 10:44 Gm d-9sSM, eon 2 Re oraw 1-11 ONO) AUIS 28HEORY FOR GUITARISTS J=60 Ex. 4 8:23 —3— oa 38 d-o4 Ex. 5 8:53 senneenenenee Ex. 6a 9:11 Ex. 6b 9:16STREET THEORY FOR GUITARISTS Blues Scale (also called minor pentatonic b5) - (Shown as G Blues Scale - the b5 note is C#) 1st Pattern 2nd PatternHEORY FOR GUITARISTS The Blues Scale Demonstration Music by Jf Schecte Tansee by Glen Morgen Jew Ex. 1a 1:01 3 Ex. 1b 1:25 Ex, 23:28STREET THEORY FOR GUITARISTS Major Scale (Shown as G Major Scale) ist Pattern 2nd PatternSMI, eon Za eg eraw 12-1 @) 0) AUIS 7 Major Scale Patterns Demonstration MosicyJmScheet Tramsctibe by Glen Morgan J=90 Ex. 10:24 Pattern 1 Ex.22:88 Pattern? . 33:52 Pattern 3 Ex.4 5:05 Pattern 4 10 70213 Ex. 5 6:01 Pattern § 42. 2138 Hie = | [ | | Copyright ©2017 Trg ne ant Jel Sees 12 ALU Righs Resewet=Inerationn Copyright SeoredSy eon SMB Sl) \ Axe. ACIDS ey r \ | | Ex. 6 6:19 Pattern 6 416 2 is Ex. 7 6:35 Pattern 7 T4167 im 41517 22TREET THEORY FOR GUITARISTS Modes shown with fingerings (All in G) Major (Ionian) Dorian 3 5 7 9 3 5 7 9 Phrygian Lydian a gt LI 3 5 7 9 raze Aeolian (natural minor) EE | ‘teModes shown with intervals (All in G) Major (Ionian) Dorian ~@@ [el TT 3 5em SOA Ke RCUUANC UIE © STRE=T THEQRY NAVIGATOR MAJOR AND MINOR MODES lonian O Lydian Phrygian Mixotydian AeolianSy eon Za eg eraw 12-1 @) 0) AUIS Modes: Parallel Scales Approach Demonstration Music by Jeff Scheetz ‘Transcribed by Glen Morgan J=90 1 203 4 5 6 7 8 1 2 w 4 5 6 br 8 11:52 G Ionian Mode (Major) Ex. 24:06 G Dorian (Minor) 1 b2 bs 4 5 be br 8 1203 #4 5s 6 7 8 Ex. 35:11 G Phrygian (Minor) Ex. 4 §:49 G Lydian (Major) 2 3 4 5 6 br 8 1 2 bs 4 5 be oT 8 me 5 6:17 G Mixolydian (Major) 67:10 G Aeolian (Minor) a 3s 1 be bs 4 bs be ‘7 8 Ex. 77:36 G Locrian (Minor) E | | E Copyright ©2017 Trg ne ant Jel Sees u ALU Righs Resewet=Inerationn Copyright SeoredE Aeolian A Dorian All Modes shown within the 1st Pattern of the G Major Scale way a) a Ee — — 0 a ae, z& ae) fas; — e jan} ae) a Paciecroal G Ionian B Phrygian D Mixolydian F# LocrianHEORY FOR GUITARISTS Modes: Parent Scales Approach Demonstration Music by Jeff Scheetz ‘Transcribed by Glen Morgan J=90 1 203 4 5 6 7 8 1 2 w 4 5 6 urs Ex. 1a 0:24 G Ionian Mode (Parent Seale) Ex. Ib 1:06 A Dorian es = cs b: bs 4 5 bs er 8 Ex. Le 2:31 B Phrygian 3 5 7. Ex. 2a 5:31 C Major Seale Ex. 2b §:43 D Dorian 7. BAAD 4210-857. 75ayy TrueFire.com iy) a TueFire Present STREET THEORY FOR GUITARISTS HERE ARE THREE WAYS TO PRACTICE YOUR MODAL SOLOING. 1 Playa drone note, such as a G. Either record it or loop it. Then sola aver it with each of the ‘modal scales starting from the G note. So use: G lonian, G Dorian, G Phrygian, G Lydian, G Mixolyd- ian, G Aeolian and G Locrian. Play these one at a time and notice the “unique” qualities of each (Refer to the chart that shows you what notes are different in each of the modes.] For example a Mixolydian mode is different from the Major scale because it has a Major 3rd and a flat 7th. This is the only mode that has those notes together - so when soloing in Mixolydian, emphasize that. You will eventually learn to recognize each made by its characteristic sound. Work to emphasize the notes that make each mode unique as you solo. 2 Solo over one chord. Look at the modes that are Major: lonian, Lydian and Mixolydian. Play each of those starting with G as the rast nate aver a G Major chard vamp. Then look at the minor mades: Dorian, Phrygian and Aeolian. Play those over a G minor chord. If you want to play the Locrian, play it over a G diminshed chord. (That's pretty weird so don't worry too much about that one.) The next step with this method is, If we play all the modes under the parent scale of G Major, we get G lonian, A Dorian, B Phrygian, C Lydian, O Mixolydian, E Aeolian and F# Locrian. Play the chord that corresponds with each mode. [Remember the 7 modes are based off of the 7 notes of the Major scale, and also go with the chord from the harmonized chord scale). So play a G Major chord and solo with the G lonian mode. After you have worked on that awhile, play the second chord in the key of G Major, which is A minor, and solo with the A Dorian mode. 3 Gur third way of working with the modes is by playing them over the proper modal progression. Play a chord progression that has the 3rd chord of the Harmonized scale as the tone center - or home base, and then solo with the Phrygian made. For example; In the key of G Major play the chord progression of two bars of B minor, one bar of C Major and one bar of A minor. The 8 minor should sound like the resolving point or home base. Then solo with the B Phrygian mode. Use other chord progressions with other chards as home base and then play the appropriate mode. Using these methods will hel your playing to endless possil ‘ou systematically start to develop “modal chops" and open up ies!HEORY FOR GUITARISTS Soloing With Modes Overview Musi by Jeff Scheetz Transcribed by Glen Morgan J-ss Ex. 1 5:43 B Phrygian Progression Bm Bo © Am sooth ersteHEORY FOR GUITARISTS +96 Ex.2 7:19 D Mixolydian Progression >HEORY FOR GUITARISTS o_oTREET THEORY FOR GUITARISTS 7 Modal Scale Patterns (Starting from G Major) A Dorian C Lydian - 9 12 E Aeolian (Natural minor)Sy eon Za eg eraw 12-1 @) 0) AUIS Modes: Scale Pattern Approach Demonstration MosicyJmScheet Tramsctibe by Glen Morgan 100 Ex. 1 0:20 G Ionian, Ex. 2 1:23.A Dorian Ex. 31:47 B Phrygian Ex.4 1:52 C Lydian Ex. 51:55 D Mixolydian Ex. 6 1:58 E Acolian Ex. 72:01 Ff Locrian ALU Righs Resewet=Inerationn Copyright SeoredArpeggio shapes - the notes of a chord played one at a time. D Major Arpeggio D minor Arpeggio im I {ot TI I 3 5 7 C Lydian | | I 7 9 12 D .xolysian E Aeolian (Natural minor) ae f F# LocrianHEORY FOR GUITARISTS Arpeggios Demonstration MosicyJmScheet ; Tramsctibe by Glen Morgan -80 Ex. 1 0:25 G Major Arpeggio z = 2a 2:44 D Maj Arpeggio e 2b 2:55 D Maj Arpeggio z 2c D Min Arpeggio sa Ll(‘(i«‘i CP iC‘ Se (iCam SONA xe RCUAC IE 4 Arpeggio shapes all around the G Major scale pattern 1 G Major E minorJSpu Se —tC“‘Td (‘TQ TS —t(ié« SDL HEORY FOR GUITARISTS Arpeggios Within Scales Demonstration Music by Jf Schecte Transcribed by Glen Morgan J=80 Ex. 10:51 G Ex, 2a 1:05 G Maj Arpeggio z 7. Ex. 2b 1:41 E Min Arpeggio 7. Ex. 2c 2:08 D Min Arpeggioam SONA xe RCUAC IE 4 Arpeggio shapes all around the G Major scale pattern 1 G Major E minorHEORY FOR GUITARISTS Soloing With Arpeggios Demonstration Music by Jf Schecte Transcribed by Glen Morgan J=50 Ex. 10:51 GSw BO Aca ages Paarl \==1 ily AO). MnO) ULa APY) HARMONY When you “harmonize” a melody, you are basicaly creating one or more other lines to go with the melody, You can create harmony above or below the melody ine, you can use a wide variety of jervals to create your harmeny. If you do “Parallel Harmony" that means that every note of your harmony tine will be the same fervallic distance from the melody note. So if you are playing parallel thirds ~ then every note ‘the harmony will be 3 third from the melody note. “Non-parallel Harmony” allows you to change it up, You can go a third up from the first note of the melody, then a fifth up from the second nate, a sixth from the third note, back toa third up from the fourth note etc etc. Always tisten to how your harmony line not only goes with the melody line, but also with the underlying chords. That will give you the most complete picture of how it will all sound played together.HEORY FOR GUITARISTS Harmony Lines Demonstration MosicyJmScheet Transcribed by Glen Morgan J-us Ex. 12:19 Ex. 24:15 Harmony 3rd Above Ex.3 Harmony Sth Above Ex. 4 9:41 Changing to ths JSpu SS —t(C“‘<‘S a (CE i‘ GESy eon Za eg eraw 12-1 @) 0) AUIS Moving Harmonies Demonstration MosicyJmScheet Tramsctibe by Glen Morgan 118 Ex. 14 0:23 Melody (Pattern 1) Ex. Ib 1:23 Harmony 3rd Above (Pattern 3) Ex, Ie 1:57 Harmony Sth Above (Pattern 5) ia — th Ex, 2a 2:16 Melody (Pattern 1) Ex. 2b 2:30 Harmony 3rd Above (Pattern 3) 3, a ' E E = AI Rights Reserved neratona Copyright Securedlnc aes 2 Terr]ap Ae la CAGED Chords (All are D minor chords) Cm Form Am Form Gm FormKU oon tapli, STREET THEORY FOR GUITARISTS CAGED System Chords Demonstration Music by Joff Scheetz Transcribed by Glen Morgan J-90 Ex. 10:31 Ex, 24 1:30 C Forni, 20 2:03 A Formx,2¢2:36 G FormEs. 2g 2:89 E Form Ex, 2¢ 3:18 D Form D s F Repoom O16 Ex. 23:38 Forms at 7th Fret E D B AAV Rights Reseed Intemational Copyright Seoued -Sy Braga Za eon STREET THEORY FOR GUITARISTS Ex. 3a 4:15 C Form Ex. 3b 4:27 A FormEx. 3c 4:44 G FormEx. 3d 4:57 E FormEx. 3e 5:04 D Form D D D D D 2 & Ss Ex.4 9:28 Ex. $ 10:41 22am SONA xe RCUAC IE CAGED Chords with Major pentatonic scale added in (All in D Major) - The blue notes are the scale notes added - if there are two number ones on a string - to play the scale only play the blue one not the black one. E Form D FormHEORY FOR GUITARISTS Pentatonic Scales in CAGED Demonstration Music by Jeff Scheetz ‘Transcribed by Glen Morgan J=90 Ex. 182:30 D Major Pentatonie (C Form) _ Ex. Ib 2:35 D Major Pentatonic (A Form) Bx. 162:46 D Major Pentatonie (G Form) TW. Ex. 1d 3:05 D Major Pentatonic (E Form) p= po Po =Sy Za Bra eon STREET THEORY FOR GUITARISTS Ex, 1e 3:13 D Major Pentatonic (D Form) T= 22am SONA xe RCUAC IE CAGED Chords with Major pentatonic scale added in (All in D Major) - The blue notes are the scale notes added - if there are two number ones on a string - to play the scale only play the blue one not the black one. E Form D FormHEORY FOR GUITARISTS Soloing in CAGED Demonstration Music by Jeff Scheetz ‘Transcribed by Glen Morgan J=90 Ex. 19 1:02 Dia Ex. 1b 1:17 G Ex, 1e 1:32 aSU oon Wee rvs: STREET THEORY FOR GUITARISTS Ex. 22:39 DIA, he ¥7. —— 28Sy Za Bra eon STREET THEORY FOR GUITARISTS