Seeing Music on the Guitar: A visual approach to playing music 107821025X, 9781078210256

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Seeing Music

on the Guitar

A visual approach to playing music by Andy Schneider

© 2019 ANDY SCHNEIDER WWW.ANDYSCHNEIDER.COM

Introduction In my years teaching guitar and talking with other professional string players, I’ve noticed that we all have developed an ability to “see” the music we play on the fretboard of the instrument. We see the music we play as a simple relationship of shapes and relative positions. Look at these two shapes:

Just as you recognize the shapes above, stringed instrumentalists see music on the fretboard of their instrument. This is an inherently special gift we who play stringed instruments have been given. No other kind of instrument makes it so easy for the musician to have a visual roadmap of the music, making things like improvisation or transposing a song to another key so easy. Our fingers follow these maps to get to the music. This book will show you how to see music as simple shapes and use these shapes to more quickly and proficiently play and create music. This book is for two kinds of students: 1. The absolute beginner. Welcome. 2. Those who have learned something about the guitar, maybe some chords, maybe even have a good bit of playing experience, but lack knowledge of the way music is built. They have a grip on how to play some music, but don’t understand why they’re playing these things. Why chords use particular notes. Why some chords in a song are major or minor. Without this knowledge of the “whys”, it’s difficult, if not impossible, for them to develop as a player. For them, the guitar becomes a giant, frustrating exercise in memorization. It shouldn’t be. In this book, you’ll see that there really is very little music theory to be memorized. You did a lot more memorizing in your first year of math class than you will here. There are literally thousands of chord voicings available to a guitarist, yet they can be boiled down to a few simple ideas that anyone can grasp. You’ll see the simple relationship between chords and scales and you’ll learn how to play any chord, even one you’ve never seen before. No knowledge of sheet music is necessary here. While reading music is great and certainly encouraged, we won’t use it. We’ll be covering how music is constructed and ‘looks’ on the neck of the guitar. While we won’t get into any particular musical style or specific techniques, the information here is common to all Western music: Rock, Folk, Country, Pop, Classical, Jazz. Turn the page, you’re about to “see” music!

Getting Started Hold the guitar close to your body, with the neck pointing slightly upward so your left hand is approximately level with your right elbow. If the neck sags too low to the floor, you’ll have to reach farther with your left hand and playing will be difficult and uncomfortable.

FIG 1. Proper Playing Position

The guitar is tuned, low to high, E, A, D, G, B and E. If you’re experienced you can tune by ear, but the easiest way to tune is to buy an electronic guitar tuner. Many are available inexpensively. The strings of the guitar are numbered from the highest pitch to the lowest. The highest and lightest string is the first string and the lowest and heaviest string is the sixth string. FIG 2. Strings and Fretboard

3

Fretboard Diagrams You’re ready to start learning some notes. The diagrams in this book are kind of like pictures of what you’ll see when you look at your guitar.

0

2

FIG 3. Fret Notation

FIG 4. Left-Hand Fingering

Figure 3 tells you to play the note found at the black dot on the 5th String at the 3rd fret. It’s the 3rd fret because it’s three frets higher up the neck than the “0” in the upper left corner of the diagram. The zero indicates that the diagram begins at the nut or “zeroth” fret. The “2” next to the black dot indicates you’ll use your second finger of your fretting hand as in Figure 4. On these diagrams, a filled in circle indicates that you’ll put your finger at that fret. Actually, you’ll put your finger just behind the fret, not right on top of the fret. The fret, not your finger, is what stops the vibration of the string and changes it’s length. Keeping your finger pressed with medium pressure, just behind the nut will produce the clearest and best sound.

4

An open circle indicates an open string, one that is played without fretting with the left hand.

0

With your picking hand, feel free to use a pick or just your thumb. For now, do whatever is comfortable.

FIG 5. Open 5th String

Don’t confuse a fretboard diagram with a musical staff. Music staves indicate pitch and rhythm. Fretboard diagrams like Figure 3 are like a roadmap, showing you where to place your fingers.

FIG 6. Musical Staff

Review Fretboard diagrams indicate where to find a note and what finger to use to play it. The number in the upper left corner of a fretboard diagram indicates on which fret the diagram begins. Fretboard diagrams should not be confused with musical staffs.

5

Fretboard Basics The most important step to playing the guitar is learning the names of the notes on the fretboard. While it might seem confusing at first, there are some ways to make it easy to learn them.

The First 3 Frets Exercise: Start by playing all of the notes here, one at a time, beginning with the open low E string, noted in the upper left corner of the diagram. Next, put a finger at the F, on the first fret of the same string. Then play G on the third fret. Next, move to the open A string. Keep going, playing B, C, D, etc. until you get all the way to the high G in the lower right of the figure. As indicated to the left of the Figure 7a, play every note on the first fret with your first finger. Use your second finger on the second fret and third finger on the third fret. The pitch you hear should get progressively higher with each note.

0

0 E

Finger 1

F

2 G

3

6

FIG 7A. Fretboard

A

D

B

E

C

F

G

B

E

C

F

D

G

A

FIG 7B. Fretboard Note Names

Similar Fingerings

Memorizing the Notes Easily Memorizing things can be frustrating. Here’s an easy way to remember the locations of the notes in Figure 7c.

E

A

D

G

B

E

0 Finger 1

There really are only three fingerings to remember here! Several of the strings are fingered similarly. First, notice how the 1st, 2nd and 6th strings, E, B and E, all use the same pattern of open-string, 1st fret and 3rd fret? With one pattern (open, 1st, 3rd), you can memorize 3 strings!

2 3

FIG 7C. Similar String Fingerings

Second, notice how the 4th and 5th strings use a slightly different pattern of openstring, 2nd fret and 3rd fret? The 3rd string, G, is easy to remember because there’s only one fretted note to remember, 2nd fret. Exercise: Keeping in mind the similarity in fingering between several of the strings, play all of the notes again, from lowest to highest. As you play the note, say it’s name. You’ll be well on your way to memorizing the notes and their names.

Seeing Music Do you see how the notes of the B string and both E strings can be played with similar fingerings? Do you see how the notes of the A and D strings are also similarly fingered?

7

Equivalent Notes One of the great things about the guitar is that there are often a few ways to play the same note. Exercise: Take a look at Figure 8. To hear some of these equivalent notes, start on the low E-string, playing the 5th fret. The name of this note is A. Now play the adjacent open-string. This is the open A-string and you’ll notice the two notes are the same pitch. Continue on this way playing the 5th fret of the 5th string, then the open 4th string, and so on. Notice that when you get to the 3rd string, G, that you’ll put your finger at the 4th fret. This is because the interval, or pitch-distance, between the G and B strings is different from any other pair of strings. 0

A

0

D

G

B

E

B A

FIG 8A. Open-String Equivalents

D

G

E

FIG 8B. Open-String Equivalents Note Names

Seeing Music Make sure you memorize the notes in Figures 7 and 8. A good way to memorize them is the say the note name outloud as you play each note.

8

Great! Now you’ve learned all the natural notes of the guitar, up to the 5th fret. Give yourself a hand!

About Note Names You’ve just learned the natural notes found on the guitar. There are, of course, notes in-between the ones you’ve just learned. For example, between A and B is A# (pron. A sharp). It’s also called B (B flat). When you raise a note by a fret, or half-step, you say the name of the note, followed by “sharp”. When you lower a note a half-step, the note becomes “flatted”. That’s why the note between A and B has two names, A# and B . The natural notes are neither “sharp” nor “flat”, they are “natural”. Exercise: Think about the notes you’ve just learned, up to the fifth fret. In-between the natural notes are the sharp or flatted notes. Find the notes that you haven’t learned and find their names. For example, the sequence of notes, starting at the low-E on the 6th string is E, F, F#, G, G# and A. Work your way across each string, giving names to every note up to the 5th fret.

Review The natural notes of the 1st 3 frets can easily be remembered by grouping them with other strings that use a similar fingering. Many notes on the guitar can be found in several places on the fretboard. The open-strings have equivalents, generally at the 5th fret. The exception is the 2nd string, open B, whose equivalent note is found at the 4th fret of the 3rd string. Strings are generally tuned the same interval apart, the exception being the 2nd and 3rd strings.

9

Major Scales, Triads and Chords Scales Scales, triads and chords are all related. Triads and chords come from their related scale. Take a look at the C Major scale. The notes of the C Major scale in order are C, D, E, F, G, A, B and C. Exercise: In Figure 9, start on the 5th string, 3rd fret and place your 2nd finger there. It’s indicated by the circle with the “X” through it. This is the root, C. Play the C, then keeping your 2nd finger there, add your 4th finger at the 5th fret on the same string. Play this note, D. Now, you can release these notes. On the 4th string at the 2nd fret, place your first finger. Play this E. Next play F, then G, then on to the 3rd string, similarly. At the end, you’ll reach the high C. The finger you should use for each fret is indicated to the left of the Figure 8a. 0

0

Finger 1

E C

2

F

3

B

4

10

A

D FIG 9A. C Major Scale

G

C

FIG 9B. C Major Scale Note Names

Building Major Scales A major scale is a series of whole and half-steps. A half-step is the distance between two notes that are one fret apart. A wholestep is equal to two half-steps.

C DE F G A B C FIG 10. C Major Scale Indicating Half-Steps

In major scales, the half-steps are between the 3rd and 4th degrees and the 7th and root degrees. All the other notes are a whole step apart, or the equivalent of two frets in distance from each other. In the C Major scale, the half-steps are between E and F and between B and C.

Memory Tip

0

To easily remember the fingering of the C Major scale, use this tip. On the A-string, you use fingers 2 and 4. Next, on the D-string, you use fingers 1, 2 and 4 and on the G-string, you use 1, 3 and 4. When you say it to yourself a few times, it even starts to sound kind of musical.

1 C 2

1

2 3

4

4

4

FIG 11. C Major Scale Fingering

Say, “2 4, 1 2 4, 1 3 4.”

11

Remember how some notes can be found in several places on the guitar? Here’s another example.

5 Finger 1

Exercise:

2

Have a look at Figure 9, then Figure 12. They are two different ways to play a C Major scale. They look a lot alike, don’t they? You can play a C Major scale using the same fingering pattern “24, 124, 134” just by starting in a different place.

3 4 FIG 12. C Major Scale

This time, you’ll start by playing C on the 6th string at the 8th fret with your 2nd finger. The first note of the scale is three frets above the first fret of the diagram, which has a “5” located next to it. This “5” indicates that the diagram starts at the 5th fret. So, the first note is at the 8th fret. Play the scale in Figure 12, just as you did in Figure 9. Now play the scale from Figure 9. They sound alike, don’t they?

Seeing Music If you see a similiarity in the shapes of Figures 9 and 12, then you are already beginning to “see” music on the guitar!

12

Triads A triad is a collection of three notes of a scale. Each note of a scale, for example, C, D, E, F, G, A, B and C can be given a number, or degree, 1, 2, 3, 4, 5, 6, 7 and 1, again. While the last note, C, was the 8th note you played, it’s still called the 1st degree, because although it’s one octave higher, its still the same note name, as the 1st degree, or root of the scale. A triad contains the 1st, 3rd and 5th degrees of the scale. So a C Major triad is spelled C, E, G.

0

Exercise: C, E and G are the 1st, 3rd and 5th degrees of the C Major scale. Play these three notes, C, then E, then G in Figure 13. FIG 13A. C Major Triad

It has a familiar sound, doesn’t it?

Chords Chords are built from triads.

0

To play a C Major chord, you’ll need to find a way to hear all three notes of the C Major triad at the same time. You’ll remember from Figure 8 that the G of this triad, found at the 5th fret of the 4th string, is the same note as the open 3rd string.

FIG 13B. C Major Triad

Moving the G to the open 3rd string places one note on each of the 3rd, 4th and 5th strings. Exercise: Play C, E and open G together. The C Major triad has become a C Major chord.

13

While the three note chord in Figure 13 is a perfectly fine C Major, there are many other ways to play a C Major chord.

Note Degree

C 1

E 3

G 5

C 1

E 3

0 1

Here’s one in Figure 14 that uses five strings.

2 3

Since there are five strings, but only three notes in a triad, a couple of the notes are doubled. Notice how this chord has two C’s and 2 E’s. The small numbers next to the notes indicate which fingers to use.

FIG 14. C Major Chord

G Major Scale, Triad and Chord Here’s a G Major scale. It should look familiar. It’s the same shape as the C Major scale.

0 Finger 1

Because the scale starts with G, it’s a G Major scale

2

Exercise:

4

3

Play the G Major scale in Figure 15.

Here’s the triad, containing the 1st, 3rd and 5th degrees of the scale.

FIG 15. G Major Scale

0

Notice again in Figure 16 how you will take advantage of the open D-string. By moving the D from the 5th string to the 4th, each note can be heard simultaneouly. Exercise:

14

Play the G Major triad in Figure 16 with one note on each of the 4th, 5th and 6th strings..

FIG 16. G Major Triad

Note G Degree 1 Here’s a G Chord that uses all 6 strings.

B 3

D 5

G 1

B 3

G 1

0

Exercise:

2

Play the G Major chord in Figure 17. Take your time to finger this carefully, so each note can be heard.

1

4

FIG 17. G Major Chord

Visualizing Chords When learning chords, pay special attention to the root note, the circle with the “X” through it. Always visualize the chord as it’s built on the root.

Seeing Music Did you notice how the G Major scale uses the same shape as the C Major scale you learned earlier? The G Major scale uses the same shape as C Major, but starts on a different note, G. The scale is changed to G Major.

15

Chord Progressions Here are a couple chord progressions using G and C chords. Exercise: In these charts, play the chord indicated four times, once for each hash mark. In Figure 18, you’ll play 2 measures of G, or 8 G chords, followed by 2 measures of C, or 8 C Chords.

G

G

C

C

FIG 18. G-C Chord Progression

In Figure 19, play one measure of G, followed by a measure of C. Start slowly, playing as smoothly as possible. Don’t worry about speed, right now. It’s more important to make the transition between chords smoothly and in time.

G

C

G

C

FIG 19. G-C-G-C Chord Progression

Review Major scales are made of whole and half-steps. Major triads contain the 1st, 3rd and 5th degrees of the major scale. Major chords are made from the major triad. Pay special attention to the root and visualize the chord as built on the root.

16

Intervals The pitch distance between two notes is called their interval. The interval is given a name based on the scale it’s used in. Using C as an example, here are the intervals you’ll find in a major scale. 0

0

0

FIG 20A. Major 2nd (2 half-steps)

0

0

0

FIG 20D. Perfect 5th (7 half-steps)

FIG 20C. Perfect 4th (5 half-steps)

FIG 20B. Major 3rd (4 half-steps)

0

FIG 20E. Major 6th (9 half-steps)

FIG 20G. Perfect Octave (12 half-steps)

FIG 20F. Major 7th (11 half-steps)

17

More Major Scales and Chords Here are a few more major scales and chords. Exercise: First play each scale, then the chord that is derived from it. Whenever a string has no note to played, be careful to not strum it. Also, try to mute those unneeded strings with your left-hand. By very lightly touching the string to be muted, you’ll keep it from accidently ringing. Note E Degree 1 0

B 5

E G# B 1 3 5

0

E 1

1

Finger 1 3

2

2 3 4

FIG 21. E Major Scale

FIG 22. E Major Chord

Note Degree 0

A 1

E 5

A C# E 1 3 5

0

Finger 1

1

2

2

3

3 4

18

FIG 23. A Major Scale

FIG 24. A Major Chord

Note Degree 0

D 1

D F# 1 3

A 5

0

Finger 1

2

1

2

3

3 4

FIG 25. D Major Scale

FIG 26. D Major Chord

These E, A and D scales all look pretty similar, don’t they? In fact, E and A look identical and D would also be identical, except the last two notes, those on the B string, are shifted up one fret. These E, A and D chords are all derived from the triads in their key. Exercise: From these major scales, spell their triads by finding the 1st, 3rd and 5th degrees of each. Write down the notes of each triad, then look at what notes are used in each chord. The notes of the triads come from the scales. The chords come from the triads.

Seeing Music Did you notice the similarity in shapes between the E, A and D scales?

19

The scales in Figures 21, 23 and 25 aren’t the only ways to play the E, A and D scales. You can use the pattern you already learned for C and G. Exercise: Play each of the scales, using the same fingering pattern, starting on different notes. 3

3

3

FIG 27. E Major Scale

FIG 28 A Major Scale

FIG 29. D Major Scale

Seeing Music You’ve just learned C, G, E, A and D Major chords and the scales and triads from where they are derived. These five chords are the basis for learning every other chord. In fact, every other chord you’ll play is a kind of version of these chords. You’ll soon see how you can modify them slightly and arrive at all kinds of new chords.

20

Try these chord progressions below using the E, A and D chords

E

E

A

A

FIG 30. E-A Chord Progression

E

A

E

A

FIG 31. E-A-E-A Chord Progression

A

D

E

A

FIG 32. A-D-E-A Chord Progression

21

Barre Chords The five chords you’ve already learned are open-string chords. They use a combination of fretted notes and open-string. Another type of chord is the barre chord. Barre chords use no open-strings and because of this, can easily be moved up and down the neck to create new chords.

F Major Barre Chord Compare this F Major barre chord to the open-string E chord you learned in Figure 22.

Note F Degree 1

You probably noticed that the two chords look very much alike. In fact, the F Major chord is just like the E Major chord, just moved up one fret on the neck.

0

C 5

F 1

C 5

A 3

F 1 1

1

1

2 3

4

Exercise: Play this F Major barre chord, using your first finger to hold down three notes at once.

FIG 33. F Major Barre Chord

Don’t be frustrated if this chord is difficult at first. Many find the F Major chord the most difficult chord on the guitar.

Seeing Music When every note of the E Major chord is moved up one fret, it becomes F Major!

22

Now, here is the real power of barre chords! You can move barre chords up and down the neck to easily play any chord. The F barre chord becomes F# by moving it up one fret on the neck. Moving it up again one fret, it becomes G. Exercise: Play the F Major shaped barre chords below. The root of every chord is indicated by the circle with the “X” through it. Notice how moving the chord up to a new fret creates a chord, named after the root note?

Note F# C# F# A# C# F# Degree 1 5 1 3 5 1

Note G D Degree 1 5

G 1

D 5

B 3

G 1

0

0 1

1

1

3

1

1

2

1

2

4 3

FIG 34. F# Major Chord

4

FIG 35. G Major Chord

Exercise: Try moving this F Major shaped barre chord even further up the neck to create new chords.

Seeing Music Barre chords can be moved up and down the neck to create new chords, named after the root note!

23

B Major Barre Chord Here is another barre chord, based on the open-string A chord shape you learned earlier.

Note Degree

B 1

0

F B 5 1 1

4

Again, compare this B Major barre chord to the open-string A chord you learned in Figure 24. When the A chord is moved up one fret, it becomes B . The note on the E string has been left off for ease in playing. Like all barre chords, you can move this chord up the neck to create new chords.

4

4

FIG 36. B Major Barre Chord

Note Degree

B F# B D# 1 5 1 3

0

Exercise: Try playing the B barre chord. Then move it up one fret to arrive at B, then up another fret to arrive at C, and so forth. Now you’ve got two ways to play both the C and G chords! The first way you learned uses open strings, the second using barre chords.

1

4

Seeing Music Isn’t it easy to move barre chords up and down the neck to create new chords?

4

4

FIG 37. B Major Barre Chord

Note Degree

C 1

G 5

E 3

C 1

0

1

4

24

D 3

4

4

FIG 38. C Major Barre Chord`

Exercise: Play the chord progressions below. In Figures 39 and 40, play the progressions with all barre chords. In Figures 41 and 42, you can play the G, C and D chords either as barre chords, or as you learned earlier, with open strings. Try them both ways.

F

F

B

B

FIG 39. F-Bb Chord Progression

F

B

C

F

FIG 40. F-Bb-C-F Chord Progression

G

G

C

C

FIG 41. G-C Chord Progression

G

C

D

FIG 42. G-C-D-G Chord Progression

G

25

Review There are two basic types of chords: open-string chords and barre chords. Every chord on the guitar is based on one of the five open-string chords, C, G, E, A and D. Just as there are different ways to play the same scale, there are different ways to play the same chord. The two major types of barre chords are the F Major type and the B Major type. The F Major type is based on the E Major open-string chord, moved up one fret. The B Major type is based on the A Major open-string chord, moved up one fret. Barre chords make it easy to move a chord up and down the fretboard. The resulting chord will be named after the root.

26

Seeing the Whole Fretboard While you’ve learned the notes up to the fifth fret, you may be wondering about all those notes at the higher frets. At first, the idea of learning every note on the neck seems vast. But, when broken into smaller areas, it becomes much easier. Here are some easy ways to break the fingerboard up into regions that are easy to remember.

You’ve already seen the C Major scale that begins on the 8th fret of the low E-string. Here it is again in Figure 43.

5

Exercise: Play the C Major scale, saying the note name as you play each note. FIG 43. C Major Scale

The next octave of the scale is seen in Figure 44 and is played on strings 1 through 3.

5

Exercise: Play this higher-octave C Major scale, saying the note name as you play each note. FIG 44. C Major Scale

27

Practicing the C Major scales will help you learn the note names up to the 10th fret.

Note

E

A

D

G

B

E

12

You already know the names of the notes at the 12th fret. Each note at the 12th fret has the same name as it’s openstring. They are the same notes, one octave up. Exercise: Play the notes at the 12th fret of each string, followed by the open-string. They sound one octave apart. Just as the notes at the 12th fret are the same as the open-strings, the notes above the 12th fret repeat in order from those you learned lower on the neck. Notice how the notes in Figure 46 are in the same order as in Figure 7?

FIG 45. The 12th Fret

12 E

A

D

G

F G

B

E

C

F

B

E

C

F

D

G

A

Exercise: Play the notes beginning at the 12th fret in ascending order, beginning with the 12th fret E in the upper-left corner of the figure.

FIG 46. Note Names

Review The note names from the 5th to 10th frets are easily learned through two C Major scales. The 12th fret notes are the same as the open strings. The note names repeat after the 12th fret.

28

Minor Scales, Triads and Chords The major scale is one type of scale. Another is the minor scale. Examine this C minor scale, triad and chord.

Minor Scales Exercise: Play the C minor scale in Figure 47. Say the names of the notes as you play them. 0

0

Finger 1

C

F Bb

3

D

G

4

Eb Ab

2

FIG 47A. C minor Scale

C

FIG 47B. C minor Scale

Minor scales are a series of whole and half-steps, but their order is slightly different than in their major scale counterparts. Here is the C minor scale. The half-steps are indicated by the hash marks.

C DE F G A B C FIG 48. C minor Scale Indicating Half-Steps

29

Minor Triads and Chords Just like major triads, minor triads are built from the 1st, 3rd and 5th degrees of their scale.

0

The C minor triad is spelled, C, E and G. Moving each note of the triad to it’s own string allows the notes to be heard simultaneously, creating a C minor chord. FIG 49A. C minor Triad

Notice in Figure 48b that two notes of the triad are moved to adjacent strings. Exercise:

0

Play the C minor triad in Figure 49. Then play the C minor chord in Figure 50.

FIG 49B. C minor Triad

Note Degree

C E G 1 3 5

0

2

C 1 1

4

30

FIG 50. C minor Chord

Minor Intervals You’ve already learned about major intervals. Here are the minor intervals. Minor intervals are one half-step smaller than their major interval counterparts. For example, a major 3rd is 4 half-steps and a minor 3rd is 3 half-steps.

FIG 51. minor 2nd (1 half-step)

FIG 52. minor 3rd (3 half-steps)

FIG 53. minor 6th (8 half-steps)

FIG 54. minor 7th (10 half-steps)

About Major and Minor Scales Major scales use major 3rd, 6th and 7th scale tones. Minor scales use minor 3rd, 6th and 7ths scale tones. Both scales use major 2nd, and perfect 4th, 5th and octave scale tones.

31

Relative Minor Here’s the A minor scale and chord. A

D

G

Finger 2

B

E

A

3

C

F

0

0

FIG 55A. A minor Scale

The shape of the A minor scale should look familiar. Its the same used earlier in C minor.

FIG 55B. A minor Scale

Note Degree

A 1

E 5

A 1

C E 3 5

0

1 2

3

Notice how there are no sharps or flats in the A minor scale? C Major has no sharps or flats, either. These two scales have a special relationship. A minor is called the relative minor of C Major. FIG 56. A minor Chord

Exercise: Play an A minor chord, followed by a C Major chord. Notice how they sound somewhat similar? Even though one is major and the other minor, they sound like they go together. A minor and C Major share two notes in common. Spell the A minor triad, then the C Major triad. What are the two notes the triads have in common?

32

Exercise: Play the E minor and D minor chords below. Notice how similar they look to their major versions. Note E Degree 1

B 5

E 1

G 3

B 5

E 1

Note E Degree 1

0

E G# B 1 3 5

0 3

2

FIG 57. E minor Chord

D 1

D 1

A 5

E 1

1

3

2

Note Degree

B 5

FIG 58. E Major Chord

F 3

0

Note Degree

1

D 1

D F# 1 3

A 5

0

2

2

1 3

3

FIG 60. D Major Chord

FIG 59. D minor Chord

Seeing Music Major and minor chords look almost identical!

33

Minor Barre Chords Here is the F minor barre chord. Notice how it’s shaped so similarly to the F Major barre chord? In fact, a minor chord is the same as a major chord with it’s 3rd scale tone lowered one half-step. An F Major triad is spelled F, A, C while F minor triads are spelled F, A , C. It’s also worth noticing that the F minor barre chord is the same as the E minor chord from Figure 57, raised by one-half step. Exercise: Play the F minor barre chord. 0

1

1

3

1

1

4

FIG 61. F minor Barre Chord

Here is the B minor barre chord. Notice how it’s shaped so similarly to the B Major barre chord? Also, it’s the same as an A minor chord raised one half-step. Just as with major barre chords, minor barre chords can be moved up the neck to create new chords. For example, moving the F minor barre chord up one fret creates an F# minor barre chord.

0

1

1 2 3

4

Exercise: Try moving the F and B chord up to other frets.

34

minor barre FIG 62. B Barre Chord

About Major and Minor Triads Major triads are built from the root, the major 3rd and a perfect 5th. Minor triads contain the root, minor 3rd, and perfect 5th. A major 3rd is one half-step above a minor 3rd. So, to turn a major chord into minor, simply lower the major 3rd one half-step!

Spelling Major and Minor Triads Major Triad = Root + Major 3rd + Perfect 5th Minor Triad = Root + Minor 3rd + Perfect 5th Major 3rd = 4 half-steps Minor 3rd = 3 half-steps

Notice the similarity between these C minor and C Major chords. The C Major is spelled C, E and G. C minor is spelled C, E and G. The major chord in Figure 63 is turned into a minor chord by lowering it’s 3rd degree one half-step!

Note Degree

C 1

G 5

E 3

C 1

Note Degree

C 1

G 5

C 1

E G 3 5

0

0

1

1

1

2

4

4

4

FIG 63. C Major Chord

3

4

FIG 64. C minor Barre Chord

35

Review All triads are spelled with the root, 3rd and 5th of their scale. In a major triad, the 3rd is a Major 3rd above the root. In a minor triad, the 3rd is a minor 3rd above the root. You can turn a major chord into a minor chord by lowering the major 3rd of the chord to one halfstep. Minor intervals are one-half step smaller than their major interval counterparts. For example, a major 2nd is two half-steps and a minor 2nd is one half-step. Minor barre chords, like all barre chords, can be moved up the neck to create new chords.

36

Chord Progressions 0

Chord progressions are a series of chords with colors (major or minor) usually determined by the scale of the key of the song. For example, a common chord progression is the I-IV-V. The numbers refer to the scale tones of the roots of the chords. In the key of C, the 1st, 4th and 5th scale tones are C, F and G. So, the roots of the chords will be C, F and G.

FIG 65. C Major Scale

Exercise: Play the I-IV-V progression below.

C

F

G

C

FIG 66. I-IV-V Progression

These chords sound great together, don’ they? They are all major chords. But, why are these chords major? Why wouldn’t they be minor? In a given key, certain chords are generally major or minor. Their color is dependent on their root and it’s scale tone in that key.

37

Spelling Triads in a Given Key

0

A I-IV-V progression in C Major would have chords with the roots C, F and G. To know if those chords would be major or minor, look at the triads built from the roots of those chords, using the scale of the song’s key.

3 1 5

The C Chord will be major. It’s built from the 1st, 3rd and 5th of the scale. Since the 3rd, E, is a major 3rd from the root, C, the triad and chord are major.

FIG 67. C Major Triad

The F Triad is built by counting up the C scale, starting at F, and uses the 1st, 3rd and 5th notes found, F, A and C. See Figure 68. Since the 3rd, A, is a major 3rd from the triads root, F, the triad and chord will be major. Similarly, the G Major triad is built by using the notes of the C Major scale, starting at G. Counting up, the 3rd note found is B. The 4th note is C and since this is the same as the root of the scale, counting resumes back at low C. The 5th note found is D. The G triad is G, B and D as seen in Figure 69. B is a major 3rd above G, so the G triad is major. So, the I-IV-V progression uses C Major, F Major and G Major chords. Again, the chords color, major or minor, is found by finding spelling each triad using the notes of the scale of the song’s key. 0 0 3 1

3 5

1

5

38

FIG 68. F Major Triad

FIG 69. G Major Triad

Visualizing Chord Movement Just as you can visualize scales, triads and chords, you can visualize the movement of the roots of chords. In the chord progression in Figure 66, you can see the roots of the chords, C, F and G, as in Figure 70. The roots are found here the way they’re seen in the C Major scale. To make it easier to visualize the chord movement, transpose F and G down one octave as in Figure 71. Now, play the F and G chords as barre chords, visualizing them as major chords built on the roots F and G. Exercise: Try playing the I-IV-V progression again, using all barre chords, and visualize the root movement as in Figure 71 as you play.

0

0

C

F

I

G FIG 70A. I-IV-V Roots (Key of C)

0

IV

V FIG 70B. I-IV-V Roots (Key of C)

0 F G

IV

C

FIG 71A. I-IV-V Roots (Key of C)

V

I

FIG 71B. I-IV-V Roots (Key of C)

39

Spelling Minor Triads Triads built on the root, fourth and fifth scale tones of a major scale are major triads. Triads built from the second, third and sixth scale tones of a major scale are minor triads. Minor triads have a minor 3rd interval between the root and the 3rd degree. These minor triads are spelled in the same manner as the I, IV and V chords spelled earlier. Starting at the root of each chord and counting up the scale, the 1st, 3rd and 5th notes found form the triad. Since the interval between the root of each triad and it’s 3rd degree is a minor 3rd, each triad is minor. So, in the key of C, we find D minor, E minor and A minor. Exercise: Play the triads below, then try the progressions in Figure 71 using an A minor chord.

0

0 5

0 1

5

1

3 5 1

3

FIG 72. D minor Triad

FIG 73. E minor Triad

3 FIG 74. A minor Triad

Seeing Music

40

You can visualize scales, triads, chords and chord progressions, as well!

Exercise: Try the progression in Figure 71, visualizing the root movement of the chords as in Figure 72.

C

a

F

G

FIG 75. I-vi-IV-V Progression

a

0

vi IV

F G

0

C

FIG 76A. I-vi-IV-V Progression

V

I

FIG 76B. I-vi-IV-V Progression

Notice how these chords all sound great together? Almost like they’re part of the same musical family? That’s because C Major, A minor, F Major and G Major are all found in the key of C Major.

41

Here’s another chord progression with minor chords. Try it using both barre chords and chords using open strings, visualizing the root movement of the chords as in Figure 78 and 79.

C

a

d

G

FIG 77. I-vi-ii-V Progression

Play the progression in Figure 77 using open-string chords. Visualize the root movement as in Figure 78. a

0

G

d

0

C

vi

V

FIG 78A. I-vi-ii-V Progression

ii

I

FIG 78B. I-vi-ii-V Progression

Now play the progression in Figure 77 using barre chords. Visualize the root movement as in Figure 79. 0

42

0

G

C

V

I

a

d

vi

ii

FIG 79A. I-vi-ii-V Progression

FIG 79B. I-vi-ii-V Progression

Major and Minor Chords of a Major Key In a major key, you’ve seen that the first, fourth and fifth scale degrees have major triads built on them, while the second, third and sixth have minor triads built on them. Take a look at the chart below.

Degree

Color

Key of C

I ii iii IV V vi

Major minor minor Major Major minor

C Major d minor e minor F Major G Major a minor

FIG 80. Chord Colors in Major Keys

The chord built from on the seventh degree of the scale is neither major nor minor. It’s a special case that isn’t frequently used.

Review Chords in a given key are formed by building triads using the scale of the key. Chord movement can be visualized by “seeing” the roots of the chords as they lie on the fretboard. In a major key, I, IV and V chords are major. ii, iii and vi chords are minor.

43

7th Chords 7th chords are, very simply, chords that use the 7th scale tone. They extend the triad from the 1st, 3rd and 5th degrees by adding the 7th degree.

Major 7th Chords A major 7th chord is a major triad with the major 7th added.

0 3

The extended triad of the root of a major scale forms a major 7th chord.

1

In the key of C Major, the 1st, 3rd, 5th and 7th degrees are C, E, G and B.

7 5

Exercise: FIG 81. C Maj7 Extended Triad

Play the notes in the triad, then try the major 7th chords below.

Note Degree

C 1

E 3

G 5

B 7

0

E 3

Note Degree

C 1

G 5

B 7

E 1

G 5

0 2 3

1

1 2 3

44

FIG 82. C Maj7 Chord

4

FIG 83. C Maj7 Barre Chord

Note G Degree 1 The G Major scale is spelled G, A, B, C, D, E, F#, G. So, a G Major 7 chord is spelled with the 1st, 3rd, 5th and 7th degrees: G, B, D and F#.

D F# B 5 7 3

0

1 2

3

4

FIG 84. G Maj7 Chord

Dominant 7th Chords A dominant 7th chord is a major triad with the minor 7th degree added. Commonly, the chord based on the 5th scale tone of a major scale is a dominant 7th. Extending the triad of the 5th scale tone of a major scale produces a dominant 7th chord. Here’s why dominant 7ths sound great on the V chord of a song:

0

7 3 5

1

FIG 85. G7 Extended Triad

Examine Figure 85, in the key of C. The 5th degree of the C scale is G. Counting up from G, the 3rd is B. To find the 5th, continue counting up the scale. At the end of the scale, the high C, resume counting at the beginning of the scale, the low C. So, C is the 4th and D is the 5th degree. The 7th of the triad is F, so the dominant 7th chord G7 is spelled G, B, D and F.

45

Form a dominant 7th chord by adding a minor 7th to a major triad. A C7 Chord would be spelled C, E, G and B . Remember, a major 7th above C is B. A minor 7th above C is B .

Note Degree

C 1

E 3

B 7

0 2 3

1

The chord at right is a simplified chord. The 5th degree has been left out, but because it contains the root, 3rd and 7th, it retains the dominant 7 sound. FIG 86. C7 Chord

Exercise: Try these dominant 7th chords below. Both are very similar to the G Major chords you’ve learned. Note G Degree 1

B 3

F G 7 1

B 3

Note G Degree 1

G 1

D 5

F B 7 3

D 5

G 1

0

0 1 2

3

4

1

1

1 2 3

FIG 87. G7 Chord

FIG 88. G7 Barre Chord

Seeing Music 46

Notice how similar major and dominant 7th chords are to major chords?

1

Exercise: Try these I-IV-V7 progressions, using dominant 7th chords in their third measures.

C

F

G7

C

FIG 89. I-IV-V7 Progression in C

F

B

C7

F

FIG 90. I-IV-V7 Progression in F

Exercise: Here’s another, using both a major 7th and a dominant 7th chord.

C Maj7

a

d

G7

FIG 91. IMaj7-vi-ii-V7 Progression

About Chords The chords in this book are only some of the possibilities for chords. Remember, as long as you use the notes of a triad, or extended triad you can make your own chords anywhere on the neck. Try making your own chords from triads!

47

Minor 7th Chords A minor 7th chord is a minor triad with the minor 7th degree added. Extending the triad of the root of a minor scale produces a minor 7th chord. Examine Figure 92, in the key of A minor. The root, 3rd, 5th and 7th degrees are A, C, E and G. The minor 7th chord A minor 7 is spelled A, C, E and G.

Note Degree 0

1

7

A 1

E 5

G C E 7 3 5

0

1 2

5 3

FIG 92. A min7 Extended Triad

FIG 93. A min7 Chord

An E minor 7th chord is formed by starting with a minor triad and adding a minor 7th. The E minor triad is E, G and B. The minor 7th is D. So an E minor 7 is spelled E, G, B and D. Note E Degree 1 0 1

7 5

B 5

E 1

G 3

B 5

0 2

3

48

FIG 94. E min7 Extended Triad

FIG 95. E min7 Chord

E 1

Exercise: Try the progression below with many 7th chords. Listen to how the 7th chords add color to the chord progression. Take a moment to write out the notes to each of the four chords. Notice how every note in each chord is found in the C Major scale? These chords sound like they go together because each chord uses notes found in the key of C.

C Maj7

a min7

F

G7

FIG 96. IMaj7-vi7-IV-V7 Progression

0

Minor 7 Barre Chords

1

1

1 2

Here is the B minor 7 barre chord. It’s based on the A minor 7 chord, moved up one fret.

3

FIG 97. B min7 Barre Chord

Here is the F minor 7 barre chord. It’s based on the E minor 7 chord, moved up one fret.

0

1

1

1

1

1

2

Exercise: Take a moment to examine each chord in Figures 97 and 98. Identify the roots, 3rds, 5ths and 7ths used in each. FIG 98. F min7 Barre Chord

49

Seeing Music You’ve already seen how barre chords can be moved up and down the neck to create new chords. Try moving the B min7 and Fmin7 barre chords up the neck to new positions!

Review A major 7th chord is a major triad with the major 7th added. A dominant 7th chord is a major triad with the minor 7th added. A minor 7th chord is a minor triad with the minor 7th added. The V chord in a major key is commonly a dominant 7th. Very often, major 7th and dominant 7th chords look a lot like major chords Minor 7th chords look a lot like minor chords

50

Transposing Chord Progressions Just as you can move barre chords to new positions to create new chords, you can move entire chord progressions just as easily.

C

F

G

C

FIG 99. I-IV-V Progression in C

To transpose this progression from the key of C, to the key of D, visualize the progression as in Figure 100, then move the entire progression up two frets as in Figure 101. 0

0 F G

IV

C

FIG 100A. I-IV-V Roots (Key of C)

V

I

FIG 100B. I-IV-V Roots (Key of C)

0

0

G

IV

V

I

FIG 101A. I-IV-V Roots (Key of C)

A

D

FIG 101B. I-IV-V Roots (Key of C)

51

Exercise: Here is the progression from Figure 99, transposed to the key of D. Try playing both progressions, Figure 99 and 102 with barre chords. Then, try them both with open-string chords.

D

G

A

D

FIG 102. I-IV-V Progression in D

Moving chords across strings is just as easy. For example, to move a progression from C to F, all chords will be moved up a perfect 4th. The I chord, C, will be moved up a perfect 4th to F. The IV chord, F, will be moved to B and the V chord will be moved up to C. Figure 103 shows the progression in Figure 99 being moved to the key of F as in Figure 104

0

0 F

B

G

C

B

F

C

FIG 103. Transposing I-IV-V Roots

F

B

FIG 103. I-IV-V Roots (Key of F)

C

FIG 104. I-IV-V Progression in F

52

F

F

Transposing Across the B String Remember Figure 105, open-string equivalents? Most all the strings are tuned a perfect 4th above their lower neighboring string. The exception is the 2nd string, B, which is tuned a major 3rd above the G string. Keep this in mind when transposing notes or keys around the neck. If you’re moving a note across the 3rd string to the 2nd, you’ll have to adjust by one fret. M3 0

FIG 105. Open String Spacing and Equivalents

FIG 106. Perfect 4ths

Seeing Music Because of the unique tuning between the 2nd and 3rd strings, all intervals across these strings look slightly different than they do elsewhere. FIG 107. Perfect 4th Across 3rd and 2nd Strings

53

Because of the special tuning between the 2nd and 3rd strings, watch how the appearance of chords changes as they are transposed across the guitar.

Note Degree

C 1

E 3

G 5

0

Examine the three figures at right. Here a C Major triad is being transposed up a perfect 4th to F, then up another perfect 4th to B . First, examine the C Major triad. FIG 108. C Major Triad

Note Degree As each note is transposed up a perfect 4th, the shape of the triad changes.

F 1

A 3

C 5

0

C is transposed to F, E is transposed to A and G is transposed to C. Notice how the appearance of the major triad changes when G on the 3rd string is transposed to C on the 2nd string. FIG 109. F Major Triad

Note Degree Here is the F triad transposed to B . Notice again how the shape of the triad changes.

54

B 1

D 3

F 5

0

FIG 110. Bb Major Triad

Exercise: Try transposing the progression from Figure 99, to other keys. The progression is in C, using C, F and G Major chords. Pick the key to be transposed to. Find the interval between C and that key. Now, transpose each of the chord roots C, F and G up that interval. Write down your new chord roots on the figure at right. If any of your new root notes is on anything but the 5th or 6th string, move that note down an octave. Now visualize the chords built on your transposed root notes.

0 F G

C

FIG 111. I-IV-V Roots (Key of C)

Review Just as you visualize the notes of scales, triads and chords, you can visualize the root movement of chords. The strings of the guitar are generally tuned a perfect 4th apart. The exception is the 2nd and 3rd strings, which are tuned a major 3rd apart. Because of the unique tuning interval of the 2nd and 3rd strings, the appearance of intervals across them are slightly different than when the interval is seen elsewhere on the guitar. When transposing across the 2nd and 3rd strings, remember to shifted the interval by one fret.

55

Extended Chords Lots of other colorful chords are possible by adding different scale tones to the original triad.

Note Degree

C 1

E 3

B 7

D 9

0

You’ve already seen that 7th chords are one type of extended chord.

2 3

1

9th chords are like 7th chords, with the 9th scale tone added. 9th chords follow the progression of triads, and use the 1st, 3rd, 5th, 7th and 9th scale degrees. Since the 8th degree is the same as the 1st, the 9th is the same as the 2nd.

4

FIG 112. C Maj9 Chord

So, a C Major 9 chord is spelled, C, E, G, B and D. It is like a C Major 7 chord with a major 9th added.

Note Degree A C Dominant 9 chord is spelled, C, E, G, Bb and D. It is like a C Dominant 7 chord with a major 9th added.

C 1

E B D 3 7 9

0 2 1

3

4

FIG 113. C9 Chord

56

G 5

4

Another extended chord is the 13th chord. Again, following the progression of the extended triad, a 13th chord uses the 7th, 9th and 13th scale tones. The 11th tone isn’t used.

Note Degree

C 1

E A D 3 13 9

G 5

0 2

The 13th tone of a scale is the same as the 6th.

2

1

3

4

Try substituting a major 9th or 13th chord for a major chord for a jazzy sound. Exercise:

FIG 114. C Maj13 Chord

Try the progressions below using extended chords.

C Maj9

a min7

d min7

G7

FIG 115. I-vi-ii-V Chord Progression with Extended Chords

C Maj13

a min7

d min7

G7

FIG 116. I-vi-ii-V Chord Progression with Extended Chords

It isn’t necessary to play every scale tone in an extended chord. Notice that in Figure 112 that the 5th is not used. In Figure 114, the 7th is not used. More guidelines for spelling chords will be presented later in the section “Creating Your Own Chords”.

57

Variations on 9th Chords The dominant 9th chord has a couple of variations. By raising or lowering the 9th degree, lots of new color is introduced to the chord.

Note Degree

C 1

E B D 3 7 9

0 4

2 1

3

A flat 9 chord is like a dominant 9th chord, but with the 9th degree lowered a half-step.

FIG 117. C 9 Chord

Note Degree

C 1

E B D# 3 7 #9

0

A sharp 9 chord is like a dominant 9th chord, but with the 9th raised a half-step.

2

Notice that the #9 is equivalent to the 3.

3

1

4

FIG 118. C #9 Chord

Note Degree The #9 chord is a favorite in Blues music. Lots of Blues songs in E use this voicing.

E G# D G 1 3 7 #9

0

1 2 4

58

FIG 119. E #9 Chord

4

Chord Overview There are often a few ways to write the name of the same chord. Here’s a few examples of equivalent naming methods.

C Major = C Maj = C = C C Major 7 = C Maj7 = C 7 G Dominant 7 = G7 E minor = e = e E minor 7 = e min7 = e 7 G 7 = F#7 G 9 = F#9 G 9 = G7 plus 9

When there is a flat or sharp after the note name, it refers to the root note, not the extension. So G 7 is the same as F#7. If the flat or sharp is elevated slightly, it refers to the extension. G 9 indicates a G7 chord with a flatted 9th degree added.

Review Extended chords use extended triads to introduce more colorful notes to the chord. Examples are the 9th and 13th chords. The 9th degree can be raised or lowered in a dominant 9th chord.

59

Basic Improvising Sometime, you may be called on to improvise a melody. Melodies generally come from the scale of the key of the song. There are also some simplified scales that musicians use to create great melodies. The most common of these is the pentatonic scale.

Major Pentatonic Scale

0

The major pentatonic scale is a simplified version of the major scale containing five notes: the root, 2nd, 3rd, 5th and 6th.

FIG 120. C Major Pentatonic Scale

Exercise: Try improvising a melody using the C Major pentatonic scale. Figure 121 is a I-IV-V in C. Try recording these chords and so you can play along with your recording. Keep your melodies simple at first. Start with just one note per measure, played on the first count of each measure. Make each note last all four counts. When that feels comfortable, try two notes per measure, then eventually more. Keep in mind, there are no wrong notes! As long as you play one of the notes of the pentatonic scale, your melody will sound pretty good.

60

C

G

C

F

F

G

C

C

FIG 121. 8 Bar Progression in C`

Using a single scale as the basis for an improvised melody is one way to approach a solo. Another approach is to use a different scale for each chord of the song. Exercise: Using the same chord progression as before, try playing the C Major pentatonic over the bars in C. Over the measures of F, use the F Major pentatonic and over the bars in G, use the G Major pentatonic. 0

0

FIG 122. F Major Pentatonic

FIG 123. G Major Pentatonic

Seeing Music This is where the real power of being able to “see” scales comes in. While it’s important to learn the names of the notes in each pentatonic scale, it’s not necessary to begin improvising!

61

Minor Pentatonic Scale

0

The minor pentatonic scale is a simplified version of the minor scale containing five notes: the root, minor 3rd, 4th, 5th and minor 7th.

FIG 124. A minor Pentatonic Scale

Exercise: Try the minor pentatonic by recording the progression in Figure 125. Play the A minor pentatonic as a ‘blanket’ scale over the entire progression. Notice in the Figure 125 that no chord is indicated over the 4th and 8th measures. If no chord is indicated for a bar, use the chord for the previous measure. So, measure 4 will repeat the A minor chord in measure 3, as will the A minor in measure 7 be repeated in measure 8.

a min

E7

d min

a min

d min

a min

FIG 125. A minor Progression

62

Blues Scale

0

A modified version of the minor pentatonic is the blues scale. The blues scale is a minor pentatonic with the addition of the flat 5. The flat 5, or “blue note”, is commonly used in Blues music. The flat 5 is one-half step below the 5th of the scale. FIG 126. A Blues Scale

Exercise: Try improvising again over the A minor progression in Figure 125, using the A Blues scale.

12 Bar Blues Examine the 12 bar blues in Figure 127. While there are many variations on the blues form, this is the most common. This same progression can be found in Rock, Blues, Country and Jazz and is great for creating music with other musicians.

A

D

D

E

A

A

D

A

FIG 127. 12 Bar Blues in A

63

Exercise: There are lots of ways to improvise over a Blues form. First, try the 12 bar blues using the A blues scale over the form. Now, try the same progression using A, D and E major pentatonic scales over their respective chords. Try it again, using A, D and E minor pentatonic scales over their respective chords. Now, try using the A blues scale over the whole song, except on the E chord, or V chord. On the E chord, use the E Major pentatonic scale. This approach is common among Blues players. Here again is the 12 bar blues with only the scale tone of the chords indicated. Try playing a 12 bar blues in a few different keys. Record the chords, then improvise some solos over your recording.

I

IV

I

IV

V

64

I

IV

I

FIG 128. 12 Bar Blues

Seeing Music Are you beginning to “see” scales and the chords to which they belong?

Review A major pentatonic is a simplfied version of a major scale. It contains the root, 2nd, 3rd, 5th, and 6th scale tones of the major scale. A minor pentatonic is a simplfied version of a minor scale. It contains the root, 3rd, 4th, 5th and 7th scale tones of the minor scale. A blues scale is a minor pentatonic with the flat 5 tone added. The flat 5 is one half-step below the 5th. There are many approaches to improvising over a Blues form. They include: Using the blues scale over the entire progression Using a corresponding major pentatonic scale for each chord Using a corresponding minor pentatonic scale for each chord Using the blues scale over the entire progression, with the exception of the V chord, where the major pentatonic of that chord is used.

65

Creating Your Own Chords Modern music often uses chords that don’t use the 3rd scale tone at all. While the melody will use the 3rd, the backing chords won’t.

Note E Degree 1

B 5

0

In fact, lots of rock songs use the Power Chord, which is just the root and 5th degrees, seen in Figures 129 and 130. While this chord doesn’t on it’s own define the color of the chord as major or minor, it sounds quite powerful. The color of the chord is usually provided by the melody.

FIG 129. E5 Power Chord

In Figure 131, the A5 add9 chord is also somewhat ambiguous, since there is no 3rd to indicate major or minor color. This chord works best as a substitute for a major chord. Note Degree

C 1

G 5

0

Note Degree

A 1

E 5

B 9

B 9

0 1

3

FIG 130. C5 Power Chord

66

FIG 131. A5 add9

E 5

Note Degree

B F# B 1 5 1

D E 3 5

Note Degree

0

D 1

D 1

A 5

E 9

0 1

2 2 3

3

4

FIG 132. B minor add9

FIG 133. D5 add9

Exercise: Try using the chords in Figures 131-133 in the examples below.

A5 add9

D5 add9

E

A5 add9

FIG 134. A5 Progression

D5 add9

b add9

A5 add9

D5 add9

FIG 135. D5 Progression

Figure 134 and 135 when played with the chords in Figures 131-133 use the concept of a drone note. The high E string is common to every chord played in the progression. Hear how nicely it rings through the entire progression?

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Exercise: Here’s another example of a modern chord progression, this time with two drone notes. Try these chords with a decending bass note and droning upper strings.

Note Degree

D F# C# B E 1 3 7 13 9

Note Degree

C# E B 1 3 7

B E 7 3

0

0

2

3

1

2 1 3

FIG 136. D Maj13 Chord

Note Degree

C 1

E 3

B 7

B 7

FIG 137. C# min7 Chord

E 3

Note Degree

B D# A 1 3 7

0

0 2

B 1

3 1

4

1 3

FIG 138. C Maj7 Chord

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FIG 139. B7 sus4 Chord

E 4

D Maj13

c# min7

a min7

C Maj7

B7 sus

B7 sus

FIG 140. Progression Using 2 Drone Notes

Suspended Chords Notice the B7 sus4 in measure 4. This is one kind of suspended chord. In a suspended chord, the 4th degree is added to the chord and is called the suspended 4th.

Note Degree

A 1

E 5

D 4

A 1

0 1

2 3

Suspended chords can be major, minor or dominant in color. Ordinarily, when making extended triads, the 11th is skipped. The 11th and 4th scale tones are the same note.

FIG 141. A sus4 Chord

The term “suspended” comes from classical music. It means that the suspended note, the 4th, sounds like it’s not ‘at rest’. If that note is moved to it’s nearest neighbor, the 3rd, it sounds much more restful. Exercise: Listen to a chord suspention by playing the A suspended chord in Figure 141, followed by an A major chord. Hear how the sound “rests” with the standard A major chord?

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Some Guidelines for Creating Chords As a rule, it’s best to have the root of the chord on the bottom. If you’re playing with a group and another instrument is playing in the low register, like a bass or piano, chances are they will be playing the root. In that case, you wouldn’t necessarily have to play the root at all. Also, it’s not always necessary, or even possible, to play every extension in a chord. For example in a C9 chord, you might choose to play the root, 3rd, 7th and 9th. The 5th can be omitted and the chord still retains its full color. If you’re playing solo, you’ll want to include the root and usually the 3rd because they define the chord root and it’s color, major or minor. Next, extensions can be added like the 6th, 7th or 9th or the suspended 4th. Chords don’t have to be complex. Try playing some progressions using just two notes per chord, the root and 3rd. If you have someone to play the roots of the chords, like a bassist or piano player, try playing just the 3rd and 5th. If a 7th chord is needed, try playing just the 3rd and 7th.

Review Not all chords contain the 3rd. Power chords are just the root and 5th degrees. One feature of some modern musical styles is the use of drone notes. Usually found on the 1st two strings, the drone note or notes are common to multiple chords. A suspended chord adds the 4th scale tone to the chord. Suspended chords can be major, minor or dominant in color. If another instrument is playing the chord roots, such as a bass, you might not need to play the roots of chords at all. Chords don’t need to be complex. The root, 3rd and 5th are all that are necessary. If a 7th chord, the root, 3rd and 7th are all that are needed.

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Creating Your Own Progressions It’s common in many types of music for chords to advance by perfect fourths. A common progression is the I-vi-ii-V7. Take a look at an example in Figure 142. The progression starts in C Major, then moves to it’s relative minor, A minor. From A minor, the chord advances up a perfect fourth to D minor. From D minor, it advances again up a perfect fourth to G7.

C

a min

d min

G7

FIG 142. I-vi-ii-V7 Progression in C

Remember that in the key of C Major, the A and D chords will be minor and the G chord sounds great as a dominant chord. Exercise: Here’s a progression that breaks from the common I-vi-ii-V7 progression. The roots are still the same, but the minor chords are now major. Play Figures 142 and 143 and notice the large difference in the sound of each.

C

A

D

G7

FIG 143. I-VI-II-V7 Progression in C

The progression in Figure 143 sounds familiar because the roots move in a familiar way, as in Figure 142. However, unlike Figure 142, the chords are not all related to the C Major scale, adding an unexpected feel

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Secondary Dominants A dominant chord is very often found on the V chord of a progression. There are times when the dominant chord sounds great substituted for a major chord. When a dominant chord is used at any position other than the V chord, it is called a secondary dominant. Secondary dominants have a very ‘funky’ sound and are used often in funk, blues, country, pop and jazz music. Exercise: Remember the I-IV-V progression? Here it is again with all dominant chords. Play the I-IV-V with secondary dominants.

C7

F7

G7

C7

FIG 144. Secondary Dominants

Review Chord progressions often advance by perfect 4ths. An example is the I-viii-V7 progression. When each chord of a progression uses chords found in the key of the song, the song has a familiar feel. Some songs use familiar chord movement, advancing by 4ths, but with chords of unexpected color. Secondary dominants are dominant chords found in positions other than the V chord.

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Chord Reference Major Chords 0

0

0

1

1 2

2

2

3

3

4

1

C Major

G Major

E Major

0

0 1

2

2

1

3

3

A Major

0

D Major

1

1

1

0

1

2 3

4

F Major Barre

4

4

B Major Barre

4

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Minor Chords 0

2

0

1

3

2 4

C minor

0

E minor

0

1 2

1

3

2 3

A minor

0

1

1

D minor

1

1

0

1

1 2

3

74

4

F minor Barre

3

4

B minor Barre

Major 7th Chords 0

0

0 2

2

2

3

4

3

4

C Maj7 Chord

1

1

1

3

C Maj7 Barre Chord

G Maj7 Chord

Dominant 7th Chords 0

0

0 2 3

1

1

1

1

2 3

C7

G7

1

1 2

4

3

G7 Barre

75

1

Minor 7th Chords 0

0

1 2

2

A min7

0

E min7

1

1

1

0

1

1

1

2 3

B min7 Barre

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2

F min7 Barre

1

1

Extended Chords

0

0

0 2

2 1

3

1

2

2 3

4

3

1

4

4

4

4

4

C Maj9

C Maj13

C9

0

0

0

1

2

4

2 3

1 2

3

1

4

C 9

C #9

E #9

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Fretboard Diagrams

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Acknowledgements Special thanks to the Marfa Public Library.

Resources www.andyschneider.com

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