"Life is like music, it must be composed by ear, feeling and

instinct, not by rule. Nevertheless one had better know the rules,
for they sometimes guide in doubtful cases, though not
often." Samue Buter
Guitar/Music Theory Lessons
Three Principles
Art and Aesthetic - Definitions
CRAFT, CRAFTSMAN -
Definitions
Master, 1ourneyman,
Apprentice and Mentor
Notes of the Guitar Neck
The G Major & Related Scales
G Major Patterns
G and Em Pentatonic Scale
E minor Pentatonic
Moving Up the Neck
Primary Chords Related
to the G Major
and E Minor Scale
Chord Foundations
Extended Chords
Chord Types
Scale Degrees of The 12 Keys
Foundations
Key Distribution, Relative
Minors,
Chord Distribution
Transposing one Key to
Another
Modal Scale Positions
Theory and application
of mode concepts
Major and Minor
Scale of Chords
Universal Patterns -
Scale of Chords - G
Universal Patterns -
Scale of Chords - Em
Determining Key -
Fly Like An Eagle
Em - G Scale First Position
Em - G Scale Second Position
Em - G Scale Third Position
Em - G Scale Fourth Position
Em - G Scale Fifth Position
One Finger Major Bar
Chords
One Finger Minor Bar
Chords
The Relation Between One
Finger
Major and Minor Chords
Bb - Gm Scales Third Fret
Position
D - Bm Scales Seventh Fret
Position
6
th
and m7 - Creating related
Chords
Only Three Basic Major
and Three Basic Minor Patterns
Major - Minor 1
Major - Minor 2
Major - Minor 3
First Pattern I and VI
First Pattern IV and V
First Pattern II and III
Second Pattern I and VI
Second Pattern IV and V
Second Pattern II and III
Third Pattern I and VI
Third Pattern IV and V
Third Pattern II and III
Up the Neck 1st and 3rds in
G
Up the Neck 5
th
's and 1st's in
Em
Up The Neck 3rds and 5ths
in G
Up The Neck 5ths and 1sts in
Em
Up the neck 5ths and 1sts in
D
Up the neck 1sts and 3rds in
Bm
Traveling the Neck
Dominant 7ths - The Doorway to
Infinity
D7 Options
An Application of Theory -
Imposing the Mixolydian-7
th
Construct
on a Major/Minor Foundation
Dominant 7ths Continued
B7-C 1am - B Spanish -
E Mohammedan Scale
Combining Flat Picking
and Finger Picking
An Alternative Picking
Your Way Up The Neck
To There And Back Again -
F and G - Triplets Up The Neck
Warm Up Exercises
Major Minor and
Pentatonic Patterns 1
Major Minor and
Pentatonic Patterns 2
Major Minor and
Pentatonic Patterns 3
Major Minor and
Pentatonic Patterns 4
Major Minor and
Pentatonic Patterns 5
Major Minor and
Pentatonic Patterns 6
Blues Scales
The Blues - The Scale
A Higher CaIIing
Ludwig van Beethoven
Music is a higher revelation than philosophy
Music is the mediator between the spiritual and the sensual liIe.
Recommend to your children virtue; that alone can make them happy, not gold.
Tones sound, and roar and storm about me until I have set them down in notes.
This is the mark oI a really admirable man: steadIastness in the Iace oI trouble.
The barriers are not erected which can say to aspiring talents and industry, 'Thus Iar and
no Iarther.'
OII with you! You're a happy Iellow, Ior you'll give happiness and joy to many other
people. There is nothing better or greater than that!
No one should drive a hard bargain with an artist.
Music should strike Iire Irom the heart oI man, and bring tears Irom the eyes oI woman.
Music is the one incorporeal entrance into the higher world oI knowledge which
comprehends mankind but which mankind cannot comprehend
Samuel Butler
You can do very little with Iaith, but you can do nothing without it.
LiIe is like music, it must be composed by ear, Ieeling and instinct, not by rule.
Nevertheless one had better know the rules, Ior they sometimes guide in doubtIul cases,
though not oIten.
Bob Marley
My music will go on Iorever. Maybe it's a Iool say that, but when me know Iacts me can
say Iacts. My music will go on Iorever.
Overcome the devils with a thing named love.
I handle Iame by not being Iamous...I'm not Iamous to me.
My music Iights against the system that teaches to live and die.
I love the development oI our music, that's what I really dig about the whole thing. How
we've tried to develop, y'know? It grows. That's why every day people come Iorward
with new songs. Music goes on Iorever.
Victor Hugo
Music expresses that which can not be said and on which it is impossible to be silent
Aldous Huxley
AIter silence, that which comes nearest to expressing the inexpressible is music.
Kahlil Gibran
Music is the language oI the spirit. It opens the secret oI liIe bringing peace, abolishing
striIe.
Leonardo da Vinci
The poet ranks Iar below the painter in the representation oI visible things, and Iar below
the musician in that oI invisible things.
Vincent Van Gogh
What am I in the eyes oI most people--a nonentity, an eccentric, or an unpleasant person-
-somebody who has no position in society and will never have; in short, the lowest oI the
low. All right, then--even iI that were absolutely true, then I should one day like to show
by my work what such an eccentric, such a nobody, has in his heart. That is my ambition,
based less on resentment than on love in spite oI everything, based more on a Ieeling oI
serenity than on passion. Though I am oIten in the depths oI misery, there is still
calmness, pure harmony and music inside me. I see paintings or drawings in the poorest
cottages, in the dirtiest corners. And my mind is driven towards these things with an
irresistible momentum.
Leo Nikolaevich Tolstoy
Music is the shorthand oI emotion.
Albert Einstein
II I were not a physicist, I would probably be a musician. I oIten think in music. I live my
daydreams in music. I see my liIe in terms oI music. ... I get most joy in liIe out oI music.
He who joyIully marches to music in rank and Iile has already earned my contempt. He
has been given a large brain by mistake, since Ior him the spinal cord would suIIice.
Jewel Kilcher
You always Ieel better when you sing. Music touches people's hearts. You know, it
doesn't go through your mental capacity, it just moves you and it will let you cry. It's
worth it doing a show and when you touch a crowd and move yourselI at the same time.
You change lives and you change the world.
Tori Amos
II you can't create physical liIe, you Iind a liIe Iorce. II that's in music, that's in music. I
started to Iind this deep, primitive rhythm, and I started to move to it. And I held hands
with sorrow, and I danced with her, and we giggled a bit.
Goethe, Johann Wolfgang von
A man should hear a little music, read a little poetry, and see a Iine picture every day oI
his liIe, in order that worldly cares may not obliterate the sense oI the beautiIul which
God has implanted in the human soul.
Anne Morrow Lindberg
A note oI music gains signiIicance Irom the silence on either side.
Barbara Marx Hubbard
Music stimulates within us direct experience oI expanded reality
Plato
Music is a moral law. It gives soul to the universe, wings to the mind, Ilight to the
imagination, and charm and gaiety to liIe and to everything.
Thomas Carlyle
Music is well said to be the speech oI angels; in Iact, nothing among the utterances
allowed to man is Ielt to be so divine. It brings us near to the inIinite.
Harriet Beecher Stowe
Where painting is weakest, namely, in the expression oI the highest moral and spiritual
ideas, there music is sublimely strong.
Claude Debussy
Music is the arithmetic oI sounds as optics is the geometry oI light.
Sidonie Gabrielle
Music is love in search oI a word.
Hans Christian Andersen
Where words Iail, music speaks.
Heinrich Heine
When words leave oII, music begins.
Anonymous
Music does bring people together. It allows us to experience the same emotions. People
everywhere are the same in heart and spirit. No matter what language we speak, what
color we are, the Iorm oI our politics or the expression oI our love and our Iaith, music
proves: We are the same.
Music . . . can name the unnameable and communicate the unknowable.
We are a spectacular, splendid maniIestation oI liIe. We have language. . . . We have
aIIection We have genes Ior useIulness, and useIulness is about as close to a "common
goal" oI nature as I can guess at. And Iinally, and perhaps best oI all, we have music.
From the enlightenment oI music comes the wisdom oI... silence.
Music is the art oI thinking with sounds.
The whole problem can be stated quite simply by asking, 'Is there a meaning to music?'
My answer would be, 'Yes.' And 'Can you state in so many words what the meaning is?'
My answer to that would be, 'No.'
Definitions
ART the conscious use of skill and creative imagination, especially in the
creation of beautiful objects.1 -
1. Human effort to imitate, supplement, alter, or counteract the work of
nature.
2. a. The conscious production or arrangement of sounds, colors, forms,
movements, or other elements in a manner that affects the sense of beauty,
speciIically the production oI the beautiIul in a graphic or plastic medium. b. The
study oI these activities. c. The product oI these activities; human works oI
beauty considered as a group.
3. High quality of conception or execution, as found in works of beauty;
aesthetic value.
2
Synonyms:
ART, SKILL, CUNNING, ARTIFICE, CRAFT mean the faculty of executing
well what one has devised.
ART implies a personal, unanalyzable creative power the art oI choosing the
right word~.
SKILL stresses technical knowledge and proficiency <the skill oI a glassblower~.
CUNNING suggests ingenuity and subtlety in devising, inventing, or executing a
mystery plotted with great cunning~.
ARTIFICE suggests technical skill especially in imitating things in nature
believed realism in Iilm could be achieved only by artifice~.
CRAFT may imply expertness in workmanship the craft oI a master goldsmith~.
3
aesthetic or esthetic (es-thet'k) aafective
1. Relating to the philosophy or theories oI aesthetics.
2. Of or concerning the appreciation of beauty or good taste: the aesthetic faculties.
3. Characterized by a heightened sensitivity to beauty.
4. Artistic: The play was an aesthetic success.
5. Informal. Conforming to accepted notions of good taste.
1Ronald F. Youngblood, general editor; F.F. Bruce and R.K. Harrison, consulting editors, Nelson s new
illustratea Bible aictionary. An authoritative one-volume reference work on the Bible with full color
illustrations [computer file{, electronic eaition of the revisea eaition of Nelson s illustratea Bible
aictionary, Logos Library System, (Nashville: Thomas Nelson) 1997, c1995.
2
The American Heritage Dictionary of the English Language, Third Edition copyright
1992 by Houghton Mifflin Company. Electronic version licensed from NSO Corporation;
further reproduction and distribution restricted in accordance with the Copyright Law of
the United States. All rights reserved.
3
2001 by Merriam-Webster, ncorporated

1. A guiding principle in matters of artistic beauty and taste; artistic sensibility: a

generous Age of Aquarius aesthetic that saia that everything was art (William
Wilson).
2. An underlying principle, a set of principles, or a view often manifested by
outward appearances or style of behavior: What troublea him was the squalor of
|the colonel's| aesthetic (Lewis H. Lapham).
|German sthetisch, Irom New Latin aesthticus, Irom Greek aisthtikos, oI sense
perception, Irom aisthta, perceptible things, Irom aisthanesthai, to perceive.|
4
CRAFT, CRAFTSMAN
1. (5078), craft, Rev. 18:22: see ART.
2. (5079), akin to No. 1, an artificer, artisan, craftsman, is translated
craItsman in Acts 19:24, 38 and Rev. 18:22. It is Iound elsewhere in Heb. 11:10
builder ; but this is practically the same as maker ( , the next noun in
the verse; see No. 5, Note). Trench, Sec.qv., suggests that brings out the
artistic side of creation, viewing God as moulding and fashioning the materials
which He called into existence. This agrees with the usage oI the word in the Sept. See
BUILDER.
3. (2039): see DILIGENCE.
4. (3673), one oI the same trade (Irom , same, and , see
No. 1), is used in Acts 18:3 (RV, trade ). CI. , master-builder, 1 Cor.
3:10.
5. (3313), a part, portion, is translated craIt in Acts 19:27, KJV; trade, RV (cI.
in v. 25). See BEHALF, COAST, PART, PIECE, PORTION, RESPECT, SORT.
, a maker, properly signiIies one who works Ior the people, or whose
work stands Iorth to the public gaze ( , people, , work ), but this idea has
been lost in the use oI the word, which came to signiIy a maker, Heb. 11:10. This has
reIerence to the structure, No. 2 to the design. CI. , a creator. 5
'men.tor 1 cap: a Iriend oI Odysseus entrusted with the education oI Odysseus' son
Telemachus 2 a: a trusted counselor or guide b: tutor, coach -- men.tor.ship n
mentor
6
4
The American Heritage Dictionary of the English Language, Third Edition copyright
1992 by Houghton Mifflin Company. Electronic version licensed from NSO Corporation;
further reproduction and distribution restricted in accordance with the Copyright Law of the
United States. All rights reserved.
5W.E. Vine, Merrill F. Unger and William White, Jine s complete expository aictionary of Ola ana New
Testament woras [computer file{, electronic ea., Logos Library System, (Nashville: Thomas Nelson) 1997,
c1996.
6
Copyright (c) 1994 Merriam-Webster, Inc. All Rights Reserved
jour.ney.man 1: a worker who has learned a trade and works for another person
usu. by the day 2: an experienced reliable worker or performer esp. as aistinguishea
from one who is brilliant or colorful
7
'ap.pren.tice 1 a: one bound by indenture to serve another for a prescribed period
with a view to learning an art or trade b: one who is learning by practical
experience under skilled workers a trade, art, or calling 2: an inexperienced person:
novice -- ap.pren.tice.ship n apprentice vb -ticed ; -tic.ing
8
mas.ter 1 a (1): a male teacher (2): a person holding an academic degree higher than a
bachelor's but lower than a doctor's b often cap: a revered religious leader c: a worker or
artisan qualified to teach apprentices d (1): an artist, performer, or player of
consummate skill (2): a great Iigure oI the past (as in science or art) whose work serves
as a model or ideal 2 a: one having authority over another: ruler, governor)
9
7
Copyright (c) 1994 Merriam-Webster, Inc. All Rights Reserved
8
Copyright (c) 1994 Merriam-Webster, Inc. All Rights Reserved
9
Copyright (c) 1994 Merriam-Webster, Inc. All Rights Reserved
Three PrincipIes
Principle Number One:
Music, as an art, is subject to aesthetic rules of order and form.
These rules oI order and Iorm may be relative to the character oI the particular genre,
culture or other recognized norms, but are the guidelines that distinguish and provide a
sense oI cultural aesthetic appreciation that is unique to the particular genre or culture.
The rules oI order or aesthetic appreciation are innumerable.
Although innumerable the rules oI order and aesthetic appreciation are quantitative.
Principle Number Two:
There are no rules.
In a multicultural society, living in relatively close proximity to one another, having the
means oI mass communications to witness instantaneously events worldwide, the
mingling and homogenization oI cultural Iorms becomes as natural as breathing, or eating
Mexican Iood today, Chinese Iood tomorrow and Italian Iood the day aIter.
As distinctive cultural aesthetics are likewise consumed and appreciated, one Iorm laid
beside another and superimposed on the other, Iorm upon Iorm, a new aesthetic is born
broadening the Iield oI permissible and appreciable artistic value. The rules become
blurred. As the new aesthetic becomes established, the old becomes relegated to the
status oI the "classic".
Cutting Edge genres currently have an extremely limited liIe span as "cutting edge"
To stay cutting edge, quantitative new rules oI order and aesthetic appreciation must
constantly be explored and experimented with.
Principle Number Three:
The role of the artist musician (or any true artist regardless of their medium) is to
learn how to best apply Principle Number Two in relation to Principle Number One.
This requires a liIetime oI learning the distinctive aesthetic rules and mastering the same
as may be necessary, and then working out that which is distinctive to itselI and reIlective
oI the artists own cultural context and experience. Submitting this creation to the
judgment, acceptance or rejection oI ones social and artistic peers is the curse and
blessing oI being an artist.
"Life is like music, it must be composed by
ear, feeling and instinct, not by rule.
Nevertheless one had better know the
rules, for they sometimes guide in doubtful
cases, though not often." Samue Buter
Notes of the Guitar Neck
G Major
Pentatonic
and
Em Pentatonic
ScaIes
-----------------------
Pentatonic scales are
heavily used in country,
rock, and blues. n
country music, most
songs are harmonically
constructed in a way that
demands the use of the
major pentatonic. n
other words, a country
tune in the key of G
requires that we use a G
major pentatonic scale.
Most "heavy" rock tunes
are often minor in nature
(due to their bluesy
origins), and in that
case, require the
application of minor
pentatonic scales.
Blues tunes are
generally minor and,
therefore, are most often
best served by the
pentatonic minor scale.
PIay this pattern
starting at the Iow E
note of the 12th fret
using the first finger
The C Major ScaIe
-----------------------
ReIative Minor
ScaIe - Am
-----------------------
C MixoIydian Mode
- G is the tonic
G MixoIydian
-----------------------
The D Major ScaIe
-----------------------
ReIative Minor
ScaIe - Bm
-----------------------
D MixoIydian Mode
- A is the tonic
A MixoIydian
-----------------------
The E Major ScaIe
-----------------------
ReIative Minor
ScaIe - C#m
-----------------------
E MixoIydian Mode
- B is the tonic
B MixoIydian
-----------------------
The F Major ScaIe
-----------------------
ReIative Minor
ScaIe - Dm
-----------------------
F MixoIydian Mode
- C is the tonic
C MixoIydian
-----------------------
The A Major ScaIe
-----------------------
ReIative Minor
ScaIe - F#m
-----------------------
A MixoIydian Mode
- E is the tonic
E MixoIydian
-----------------------
The B Major ScaIe
-----------------------
ReIative Minor
ScaIe - G#m -Abm
-----------------------
B MixoIydian Mode
- F# is the tonic
F# MixoIydian
-----------------------
Chord Foundations
Chords are derived from the various degrees of scale
structures. For example: the "C" scale has seven
unique degrees (or tones). They are: C, D, E, F, G, A,
B, and C (Octave). Chords are generated from each
degree of this scale. Specific names are assigned to
each chord generated from this scale. t is appropriate
to learn and utilize this terminology. The chords are
expressed in Roman Numerals. The assigned
terminology and structure is:
Extended Chords
Chord Types
There are only THREE main types or "Iamilies" oI chords.
Melody permitting, any chord may be substituted within a group or Iamily.
E.g. Cmaj 9 could be substituted Ior C as long as there is no melody conIlict.
HopeIully the Iollowing chart will get rid oI the conIusion that many people have about
chord types.
Major Minor (DOM.) 7th
C Cm (C-) C7
Cmaj7 Cm7 C7b9
C6 Cm6 C9
Cmaj9 Cm7b5 C7#9
Cmaj9#11 Cmmaj7 C7b5
C6/9 Cm9 C7#5 (C7+)
C2 Cm9b5 C13
Cmaj13 Cm6/9 C9#11`
C+ Cmmaj9 C7b13`
Cmaj7#5 Cm11 C11`
Cm13
Cm#5
(Cmb6)
Cdim``
Combinations
oI above with
alterations oI 5
& 9 Eg. C13 b9
C7 #5 #9
* Ior guitar voicings, 114 #11b5 136 b13#5
** A Diminished chord is like a m6b5 chord
ScaIe Degrees of The 12 Keys
The Iollowing scale degrees and number oI Sharps and Flats in the key signature
should be memorized. Ideally, once you have memorized them, you should re-
write this yourselI.
SIG 1 2 3 4 5 6 7 8 9 10 11 12 13
C C D E F G A B C D E F G A
F 1b F G A Bb C D E F G A Bb C D
Bb 2b Bb C D Eb F G A Bb C D Eb F G
Eb 3b Eb F G Ab Bb C D Eb F G Ab Bb C
Ab 4b Ab Bb C Db Eb F G Ab Bb C Db Eb F
Db 5b Db Eb F Gb Ab Bb C Db Eb F Gb Ab Bb
Gb 6b Gb Ab Bb Cb Db Eb F Gb Ab Bb Cb Db Eb
G 1# G A B C D E F# G A B C D E
D 2# D E F# G A B C# D E F# G A B
A 3# A B C# D E F# G# A B C# D E F#
E 4# E F# G# A B C# D# E F# G# A B C#
B 5# B C# D# E F# G# A# B C# D# E F# G#
Foundation: Key Distribution
Foundation: ReIative Minors
Foundation: Chord Distribution
Transposing one Key to Another
ModaI ScaIe Positions
o The Mixolydian scale contains a Ilat 7th tone
o The Dorian mode contains a Ilat 3rd and Ilat 7th tones
o The Aeolian mode contains a Ilat 3rd , 6th, and 7th tones
Theory and appIication of mode concepts
The illustration below shows the relationship between the C major scale and the
Dorian, Aoelian and Mixolydian scales contained within the scale.
The Dorian scale begins and ends with "D". The Aoelyian scale begins and ends
with "A". The Mixolydian scale begings and ends with "G". All are naturally
contained within the Iramework oI the "C" major scale.
The diagram below provides a summary oI popular keys and the associated mode
sequences.
o Keep in mind the Dorian scale can and will be applied to the II7 - IV - and V7
chords.
o The Mixolydian scale will be applied to the II7 and V7 chords.
o The Aeolyian scale will be applied to the Tonic, III7 and VI7 chords.
Major and Minor ScaIe of Chords
1
Bb
3
3
3
Cm
3
4
5
5
3
Dm
5
6
7
7
Eb
3
4
3
5
3
F
5
6
5
7
Gm
3
3
3
Adim
5
4
5
4
2
Bb
6
3
3
3
Gm
3
3
3
13
Adim7
5
4
5
4
Bb
3
3
3
Cm
3
4
5
5
3
Dm
5
6
7
7
Eb
3
4
3
5
3
F
5
6
5
7
Gm
3
3
3
7
D
7
7
7
7
Em
7
8
9
9
9
Gbm
9
10
11
11
26
7
G
7
8
7
9
9
A
9
10
9
11
7
Bm
7
7
7
7
C#dim7
9
8
9
8
7
D
10
7
7
7
7
Bm
7
7
7
7
C#dim7
9
8
9
8
7
D
7
7
7
7
Em
7
8
9
9
9
F#m
9
10
11
11
39
7
G
7
8
7
9
9
A
9
10
9
11
7
Bm
7
7
7
UniversaI Patterns - ScaIe of Chords G
UniversaI Patterns - ScaIe of Chords Em
Determining Key - Fly Like An Eagle
written by: Jonathan Maracle
copyright 1999 Socan
www.brokenwalls.com
Em - G ScaIe First Position
First Position Chords are Basic Guitar Chords.
Using the 2
nd
& 3
rd
Iingers on the Em, 2
nd
-3
rd
& 4
th
Iingers on the G, 1
st
& 2
nd
Iingers on the D is
preIerred to the way most beginner guitarists are
taught only using the 1-2-3 Iingers, neglecting the
4
th
.and ineIIiciently over complicating other
chords by under using Iingers where they could be
barred. Making chords as diagrammed here
allows Ior optimal use oI all Iingers to add
embellishment without sacriIicing the integrity oI
the chord.
Em - G ScaIe Second Position
This is actually a transitional adaptation of
what may be considered "classic" Second
position chords. The D Chord chords is a
First position chord but adding a F# on the
4
th
string using the 3
rd
finger. The C and
Am chords made by using the 3
rd
finger is
not common but is useful when primarily
working in the upper five fret area.
This position is particular good when
working between C, D, Am and Bm, and
improvising lead licks between frets 4
and 8.
Em - G ScaIe Third Position
Em - G ScaIe Fourth Position
As we continue to move up the neck it will
become obvious that there are no
absolute positions. Neither are there any
absolute, end all patterns to construct
particular chords. The thing to remember
is the 1-3-5 make up of the particular
chord regardless of the neck position or
fingers used. The use of as few fingers as
possible to construct the chord will allow
for broader expansion of lead licks as you
progress
Em - G ScaIe Fifth Position
Beginning at the 12
th
fret, chord patterns
from the first position begin to repeat
themselves. The Em and G Chords may
optionally be made using the 3
rd
(ring)
finger if you are primarily working above
the 12
th
fret.
One Finger Major Bar Chords
Major Chords are made up oI three notes.
The Tonic or Root Note, Iollowed by a
major third (two whole steps) which is itselI
Iollowed by a minor third (a whole and a
halI step).
These notes do not have to be played
consecutively or in the 1-3-5 order.
Alternative voicings can be used.
Ex: 5-1-3 or even 3-5-1
These one Iinger bar chords are played with
the Iirst (index) Iinger. This leaves the other
three Iingers Iree to improvise while
maintaining a deIinite chord Ioundation.
One Finger Minor Bar Chords
Minor Chords are made up oI three
notes.
The Tonic or Root Note, Followed by a
minor third (a whole and a halI step)
which is Iollowed by a major third (two
whole steps).
These notes do not have to be play in the
1-3-5 order.
Alternative voicings can be used.
Ex. 5-3-1 or 3-5-1
These Chords are played with the Iirst
(index) Iinger.
The ReIation Between One Finger Major and Minor Chords
Every Major Scale has other scales related to it. The scale notes remain the same but the
pattern oI whole steps and halI steps is altered depending on what note is used as the
starting point or Root/Tonic note. Two oI the most common related scales are the Minor
Scale which begins at the 6
th
in relation to the Major, and the Mixolydian Scale which
begins at the 5
th
in relation to the Major. This Iact oI related scales also translates into a
relation oI chords.
Look at the One Finger Bb major chord in relation to the G minor chord.
The Major Scale oI Bb is Bb-C-D-Eb-F-G-A-Bb. The 6
th
note is a G. The scale oI chords
is Bb-Cm-Dm-Eb-F-Gm-Adim-Bb. The 6
th
chord is a Gm. The relative minor oI Bb is
Gm. The simplicity oI this one Iinger method is rudimentary in the construction oI both
chords and lead patterns that share a common scale. Up and down the length oI the guitar
neck these Major-Relative Minor relationships are as Iollows:
Fret Major Relative Minor
0 G Em
1 Ab Fm
2 A F#m
3 Bb Gm
4 B Abm
5 C Am
6 Db Bbm
7 D Bm
8 Eb Cm
9 E C#m
10 F Dm
11 F# Ebm
12 G Em
Bb - Gm ScaIes Third Fret Position
The Bb Major Scale covering two octaves from the third fret position
The G Minor Scale covering two octaves from the third fret position
This pattern is moved up and down the neck to accommodate
the desired key. Determine the Major Key by the note of the
third string (Open G string). Determine the Minor Key by the
note of the First or Sixth string (Open E string).
D - Bm ScaIes Seventh Fret Position
The D Major Scale covering two octaves from the seventh fret position
The B Minor Scale covering two octaves from the seventh fret position
This pattern is moved up and down the neck to accommodate
the desired key. Determine the Major Key by the note of the
third string (Open G string). Determine the Minor Key by the
note of the First or Sixth string (Open E string).
6
th
and m7 - Creating reIated Chords
Placing the Iirst Iinger on all Iour strings adds a 6
th
to the major chord and makes the
minor chord a minor 7
th
. It is the same chord with diIIerent names. With your Iirst Iinger
in this position the middle Iinger, ring Iinger and the little Iinger are Iree to construct
other related chords or improvise with lead work.
From the base position, place your middle Iinger on the second string, one Iret higher on
the neck. Place your ring Iinger on the Iourth string two Irets higher than the base
position. Bb becomes an Eb. D will become a G. The IV Chord in the Major Scale oI
chords is made and the VI in the Minor Scale oI Chords.
Sliding this chord pattern up two Irets will make the V Chord in the Major Scale oI
Chords and a VII in the Minor Scale oI Chords. Eb will become a F and G will become
an A.
From the IV Chord position.
Place your Iourth (little) Iinger on the third string two Irets higher than the base position.
Eb becomes a Cm. G becomes an Em. This creates the II in the Major Scale oI Chords
and a IV in the Minor Scale oI Chords.
Sliding this chord pattern up two Irets will make the III in the Major Scale oI Chords and
a V in the Minor Scale oI Chords. Cm becomes a Dm. Em becomes a F#m.
From the root position (x-x-3-3-3-3 Ior Bb/Gm and (x-x-7-7-7-7 Ior D/Bm)
Slide the Iirst Iinger up the neck one Iret. Place the second (middle) Iinger on the third
string one Iret up Irom the Iirst Iinger (two Irets above root position). Place the third
(ring) Iinger on the Iirst string one Iret up Irom the Iirst Iinger (two Irets above root
position). This creates the Diminished 7
th
Chord. It is the VII cjhord in the Major Acale
oI Chords and the II in the Minor Scale oI Chords.
OnIy Three Basic Major and Three Basic Minor Patterns
Regardless oI the position on the guitar neck, there are only three basic major or minor
chord patterns that need to be remembered. These can easily be remembered by
recognizing where the root (tonic) note Ialls on which string.
II the Root (Tonic - 1
st
) note is on the 3
rd
(Open G String) these patterns apply:
II the Root (Tonic - 1
st
) note is on the 2nd (Open B String) these patterns apply:
II the Root (Tonic - 1
st
) note is on the 1st (Open E String) these patterns apply:
Diminished 7 Chord is the same regardless oI the neck position.
Major Chord Minor Chord
Major Chord Minor Chord
Major Chord Minor Chord
Major Minor
Major Minor
Major Minor
1st Pattern
Major Chord - I
1
st
Pattern
Relative Minor Chord - VI
(minor -I)
1
st
Pattern Major Chord -IV
Circled 4's are optional if you have long enough
fingers or the dexterity to stretch that far.
1
st
Pattern Major Chord - V
Circled 4 is optional if you have long enough
fingers or the dexterity to stretch that far.
1
st
Pattern Minor Chord -II
Circled 4's are optional if you have long enough
fingers or the dexterity to stretch that far.
1
st
Pattern Minor Chord - III
Circled 4 is optional if you have long enough
fingers or the dexterity to stretch that far.
2nd Pattern
Major Chord - I
2nd Pattern
Relative Minor Chord - VI (minor -I)
In this Pattern, 3
rd
string 3
rd
fret from base position, use the 4
th
finger when chording, but 3
rd
finger for lead work
2nd Pattern Major Chord -IV
Circled 4's are optional if you have long enough
fingers or the dexterity to stretch that far.
2nd Pattern Major Chord - V
2nd Pattern Minor Chord -II
Circled 4's are optional if you have long enough
fingers or the dexterity to stretch that far.
2nd Pattern Minor Chord - III
3rd Pattern Major Chord - I
When chording use the 3
rd
finger on the fourth string, 2
nd
finger on 3rd string and 1
st
finger on bar the 1
st
finger across
the 1
st
& 2
nd
string. For lead work you have the option of
using whatever finger suits the need and your direction.
3rd Pattern Relative Minor Chord - VI
For chording use 3
rd
finger -4
th
string, 2
nd
finger 3
rd
string 4
th
finger 2
nd
string and 1
st
finger 1
st
string. Here again a lot of
latitude is given in the use of the other fingers in lead work. These
chords being so low in the structure both make for a complex and
possibly difficult situation and the afforded liberty.
3rd Pattern Major Chord -IV
When chording use the 3
rd
finger on the fourth string, 2
nd
finger
on 3rd string and 1
st
finger on bar the 1
st
finger across the 1
st
& 2
nd
string. For lead work you have the option of using whatever finger
suits the need and your direction.
3
rd
Pattern Major Chord - V
This is the simplest of the 3
rd
major patterns, but still
affords some allowance in the use of fingering in lead work
3rd Pattern Minor Chord -II
3rd Pattern Minor Chord - III
Up the Neck 1st and 3rds in G
In playing leads it is not always necessary
use the Iull 1-3-5 chord structure. It is
oIten beneIicial and preIerred to use a
partial chord construction.
This structure on the 3
rd
and 2nd strings
(Open G and B) uses the 1
st
and 3
rd
in the
chord structure. These notes establish the
primary or tonic tone (1
st
) oI the chord and
the major or minor character (3
rd
) oI the
chord.
Although not as "Full" sounding as the 1-
3-5, this structure works well traveling the
length oI the neck and makes Ior a good
harmonizing double lead (two notes a
once).
Adding additional improvised notes can be
accomplished easily with this basic Iormat.
Two note chords oIten work well Ior lead
guitarists since the lead generally is
expected to stand out. Three note chords
may be too bulky and over powering Ior
lead work, particularly with other
instruments Iilling in their respective
positions.
Remember, the Relative Minor oI G Major is
E Minor, hence this pattern also applies to the
Emin Scale, but as 3
rd
''s and 5
th
's in that key
Irom the top oI the neck and 1
st
& 3rds
starting Irom Irets 8-9.
Up the Neck 5
th
's and 1st's in Em
Remember, the Relative Minor oI G Major is
E Minor, hence this pattern also applies to the
G Maj Scale.
In playing leads it is not always necessary
use the Iull 1-3-5 chord structure. It is
oIten beneIicial and preIerred to use a
partial chord construction.
This structure on the 2nd and 1
st
strings
(Open B and E) uses the 5th and 1st in the
chord structure. These notes establish the
primary or tonic tone (1
st
) oI the chord but
the major or minor character (3
rd
) oI the
chord is not established. Power chords are
built primarily with the 1
st
and 5ths.
Although not as "Full" sounding as the 1-
3-5, this structure works well traveling the
length oI the neck and makes Ior a good
harmonizing double lead (two notes a
once)
Adding additional improvised notes can be
accomplished easily with this basic Iormat.
Two note chords oIten work well Ior lead
guitarists since the lead generally is
expected to stand out. Three note chords
may be too bulky and over powering Ior
lead work, particularly with other
instruments Iilling in their respective
positions.
Up The Neck 3rds and 5ths in G
Remember, the Relative Minor oI G Major is
E Minor, hence this pattern also applies to the
Emin Scale,
Up The Neck 5ths and 1sts in Em
Up the neck 5ths and 1sts in D
Remember, the Relative Minor oI D Major is
B Minor, hence this pattern also applies to the
B Min Scale
This structure on the 3rd and 2nd strings
(Open G and B) uses the 5th and 1st in the
chord structure. These notes establish the
primary or tonic tone (1
st
) oI the chord but
the major or minor character (3
rd
) oI the
chord is not established. Power chords are
built primarily with the 1
st
and 5ths.
Although not as "Full" sounding as the 1-
3-5, this structure works well traveling the
length oI the neck and makes Ior a good
harmonizing double lead (two notes a
once)
Adding additional improvised notes can be
accomplished easily with this basic Iormat.
Up the neck 1sts and 3rds in Bm
Remember, the Relative Minor oI D Major is
B Minor, hence this pattern also applies to the
D Maj Scale
In playing leads it is not always necessary
use the Iull 1-3-5 chord structure. It is
oIten beneIicial and preIerred to use a
partial chord construction.
This structure on the 3
rd
and 2nd strings
(Open G and B) uses the 1
st
and 3
rd
in the
chord structure. These notes establish the
primary or tonic tone (1
st
) oI the chord and
the major or minor character (3
rd
) oI the
chord.
Although not as "Full" sounding as the 1-
3-5, this structure works well traveling the
length oI the neck and makes Ior a good
harmonizing double lead (two notes a
once).
Adding additional improvised notes can be
accomplished easily with this basic Iormat.
Two note chords oIten work well Ior lead
guitarists since the lead generally is
expected to stand out. Three note chords
may be too bulky and over powering Ior
lead work, particularly with other
instruments Iilling in their respective
positions.
TraveIing the Neck
F and G - IV & V in the Key of C, Am, G Mixolydian, G7
In the Key oI C Major
and related scales, F and
G are the IV and V
Chords respectively.
Using the 2
nd
, 3
rd
and 4
th
strings, moving Irom F
up to G up to F up to G
progressively is a
convenient and solid
structure to move the
length oI the neck in the
scales related to C
Major. Moving up or
down the neck works
equally well. The 10
th
and 12
th
Iret position
may use the 1
st
or 3
rd
Iinger depending on the
direction oI motion.
Remember the relative
minor oI F is Dm and oI
G is Em. These are
alternative chords easily
Iitted to their major
counterparts. A
combination oI Ilat
picking and Iinger
picking can work well
Iollowing this structure.
Dominant 7ths - The Doorway to Infinity
In Blues, Rock and Jazz and the various sub-genres related to these Iorms, Iew chords
and scale structures continue to exert as much inIluence in the respective Iorm as
Dominant 7 chords and related scales built on these chords. Dominant 7
th
chords have
been called "chords in motion". There is a tension produced that requires moving toward
a resolution. For this reason they make a desirable backdrop or Ioundation upon which to
envision, create and develop a musical story line or IanciIul intertwining melodic
patterns. Most Extended Chords have the Dominant 7
th
as their basis. 9
th
, 11
th
and 13
th
chords are all Iirst oI all Dominant 7
th
.
We will look at the Dominant 7
th
in two diIIerent keys. The Mixolydian Scale is also
reIerred 7
th
or Dom 7th scale. For Example, the G Major Mixolydian Mode, the Tonic
note is D. D is the note the scale begins on. Hence the D Mixolydian Scale. This is also
called the D7th Scale.
G Major Scale D Mixolydian Scale - D 7
th
Scale
D7 Variations
These are some oI the possible constructs oI the D7 Chord. As you become
Iamiliar with the scale pattern and the individual notes oI the chord, you may
Iind yourselI discovering new variations on the Ily in the midst oI playing.
An AppIication of Theory -
Imposing the MixoIydian-7
th
Construct on a Major/Minor
Foundation
Beginning in a Major Key such as G or a Minor Key such as Em,
conventional thinking would suppose the use oI chords as they naturally
Iall in line in these respective keys. When playing a G Chord that would be
the Ioundation and lead work would naturally be supposed to grow out oI a
relation to this chord. When playing a C chord in the Key oI G, C might
temporarily become the tonic note, but Iundamentally the G Ioundation is
the respected absolute. The same would hold true oI the other chords being
played in this particular key. Lead work would always tend to resolve in
relation to the G Root, Tonic, or in relation to the Minor Key, the E. Even in
the use oI chords to create lead or syncopated patterns adding diversity to the
basic pattern, rudimentary chords as the are related to the primary scale are
the natural selection.
But what if
The Mixolydian is the same scale (as Iar as actual notes goes) as The Major
scale and its Relative Minor scale. D is the tonic note oI the Mixolydian and
D7 is the natural Root chord oI the Mixolydian Scale (as related to the G-Em
Scales). There are 4 notes in a D7 chord that naturally occur in this scale
opposed to three natural notes in a G or Em chord. Even iI you made the G
and Em 7ths chords the sevenths would not be natural to the scale, but
Ilatted sevenths.
As the basic pattern is established in the primary key scale, make a shiIt to
the mixolydian mode. Use D7 as the Root chord. Use D as the Tonic note to
resolve lead licks and improvisations. You may continue to utilize other
chords and variations as they Iall in all the related scale structures, but
resolve to a D7. When the opportunity is ripe to return to the natural
progression, shiIt out oI the mixolydian mode and back into the Major or
Relative Minor scales.
I have Iound that this works and I am enjoying the results.
Dominant 7ths Continued
A Major Scale E Mixolydian Scale - E 7
th
Scale
E7 Variations
As you examine these E7
variations it should become
clear that there are
innumerable more
variations that can be
detected and implemented
as needed and desired.
Not all variations or
voicing's require the use oI
all Iour notes oI the seventh
chord. Many times a partial
construct will suit the
purpose. In some instances
using the 1
st
, 5
th
and 7
th
will
suIIice. This could be
considered a "Power
Chord" structure that allows
Ior Ilexibility in altering the
scale as the progression
may be evolving.
Combining FIat Picking and Finger Picking
An Exercise - Picking Your Way Up The Neck
Holding the pick between your thumb and Iirst Iinger pluck the notes on the
4
th
string in a downward motion. Follow this by using your middle Iinger to
pluck the 2
nd
and 3
rd
strings in an upward motion.
Combining FIat Picking and Finger Picking
An Exercise - An Alternative Picking Your Way Up The Neck
Holding the pick between your thumb and Iirst Iinger pluck the notes on the
4
th
and 3
rd
strings in a downward motion. Follow this by using your middle
Iinger to pluck the 2
nd
string in an upward motion.
To There And Back Again - F and G - TripIets Up The Neck
Holding the pick between your thumb and Iirst Iinger pluck the notes on the
4
th
string in a downward motion. Follow this by using your middle Iinger to
pluck the 2
nd
and 3
rd
strings in an upward motion.
Warm Up Exercises
Major Minor and Pentatonic Patterns
E Minor / G Major Pentatonic - First Position
E Minor / G Major First Position
Major Minor and Pentatonic Patterns 2
E Minor / G Major Pentatonic - Second Position
E Minor / G Major Second Position
Major Minor and Pentatonic Patterns 3
E Minor / G Major Pentatonic - Third Position
E Minor / G Major Third Position
Major Minor and Pentatonic Patterns 4
E Minor / G Major Pentatonic - Fourth Position
E Minor / G Major Fourth Position
Major Minor and Pentatonic Patterns 5
E Minor / G Major Pentatonic - Fifth Position
E Minor / G Major Fifth Position
Major Minor and Pentatonic Patterns 6
E Minor / G Major Pentatonic - Sixth Position
E Minor / G Major Fifth Position
12th Fret
BIues ScaIes
The BIues - The ScaIe
The Basic Blues Scale is nothing more than a Minor Pentatonic Scale. The E
Blues scale would be E-G-A-B-D-E. Adding transient notes then expands
the scale. These transients are used to move through the scale but lead licks
resolve on regular Blues notes. The transients below are representative oI the
most common usage but are not necessarily limited to these. By applying
techniques such as hammering and bending strings the possibilities are
endless. The primary thing to remember is to resolve riII's on a regular Blues
note.
B7-C 1am - B Spanish - E Mohammedan
Scale
You re in a Jam session. Someone begins what sounds like a simple pattern,
but Ior some reason it doesn t make sense, or at least you Ieel you can t make
sense oI it. The normal major scale doesn t Iit, some oI the alternative modes
equally Iail and even conventional blues patterns come up short. And no one
seems willing to show you what s going on. What is the secret oI what s being
played? You Ieel like you want to crawl back into a hole and give up. Been
there Done That.
This is one scenario that is oIten repeated in the lives oI musicians and I believe
tends to reinIorce independent, isolationist, anti-social behaviors and selI
centered, egocentric attitudes so common among talented musicians. I am not a
psychologist, but I am a musician and that is the perspective I speak Irom.
There are some leaders, church worship leaders and respected musicians who
simply are not sure what to think oI my interest and propagation oI music
theory. Well, this really isn t rocket science (although there may be a
qualiIication to this analogy) but theory provides the skills and Iramework to
Iigure it out, even when conventional Iorms leave you high and dry. Theory
provides a vehicle to explore beyond your current horizon. Theory is not just
something to be employed by the "super musician". An average musician with
a little theory can well accomplish more than an ego crazed hot shot, simply
due to the Iact that he knows the many ways to get there (or has the skills to
Iigure them out) and not just the Iastest. Creativity is not just a matter oI speed,
but oI knowledge and understanding your craIt and medium.
PreIace out oI the way. Lesson to Iollow.
At God Jam Session One (Kemptown 2003) I through out a pattern to play
with. I was pleasingly surprised that JeII Carmella picked up on it and had
some nice licks to add. Many others were not sure how to handle it and I made
sure to stay within the basic rhythm because oI the uncertainty I sensed Irom
the overall group. What I want to try and do here is explain how to Iigure it out,
and give some background to the jam.
The particular piece is an alternating chord pattern between B7 and C. I had
originally been inspired to emulate a piece called "Arabia" by Jerry Garcia and
Doug Grisman and Iound on the DVD "GrateIul Dawg". MyselI, Mark Crowe
on bass, Steve ShoaI on percussion and Wayne Dutrow on organ had jammed
in this progression a Iew times earlier this year. Adding an occasional side trip
between C and D and returning to the original B7-C pattern, we called our
piece "Back to Baghdad" because it sounded very Middle Eastern and the war
in Iraq was in Iull swing. There is one other Song Irom the sixties that uses this
same pattern, but entirely diIIerently. That is the song "White Rabbit" by the
JeIIerson Airplane. They begin by alternating between B and C, but the scale
they use is the same.
So how do I Iigure out what to play here? Make a Iret board chart. Begin
placing B7 and C chords on it. Fill in the rest oI the Iret board with whatever
notes may be included in the B7 or C chords. You would end up with this:
But what about the side trips to D and C, there is no D in this scale? Not to
worry. As close as this scale is to an E minor scale, when moving to the D
chord lower the D# to a D and utilize the E minor scale. The D note may also
be added to the B Spanish scale as a transitory note, but should probably be
used sparingly iI you wish to retain the Spanish-Middle Eastern character. By
moving between the B Spanish and E Minor scales other options to develop
and expand the piece will make themselves perceptible.
Primary Chords ReIated to the G Major and E Minor ScaIe
The Diminished and Diminished Seventh Chords
In the construction oI the Primary Chord Set the Diminished Chord will be
considered separately. The Diminished Chord as it naturally occurs is
seldom used. More oIten preIerred is the Diminished Seventh Chord, which
is common in Blues and Jazz. The interesting thing about the Dim7 Chord is
that the Iinger positioning is the same wherever it is played on the neck oI
the guitar. It is the only chord that naturally divides the scale into thirds.
Actually any tone in the diminished 7th chord can be considered the root.
The F# Diminished Seventh Chord is also a Cdim7 is also Adim7 and is also
Ebdim7. This chord having the same Iingering at every position along the
length oI the neck makes it a convenient chord to use to travel Irom one neck
extreme to the other.
Hear the words of your father, my son
Several oI my sons are also aspiring musicians.
One came to me the other day and expressed his
desire to broaden his understanding oI the guitar
and move beyond just playing rhythm chords
and do some lead work. His question: When
playing the A chord and then moving to a D
chord, do you play lead work in the key oI A
when on an A chord and then switch to the key
oI D when playing a D chord?
The answer I gave wasn t as clear as I would
have liked, but I ll try to correct that and move
on.
I have stated there are three principles that
apply to the arts and music in general:
1. Music, as an art, is subject to aesthetic
rules oI order and Iorm.
2. There are no rules
3. The role oI the artist musician (or any
true artist regardless oI their medium) is
to learn how to best apply Principle
Number Two in relation to Principle
Number One.
The answer to my sons question is relative to
the kind oI sound you wish to emulate, the
genre you wish to Iit into. Changing keys each
time you change a chord is possible, although
not the norm to most genres, but can be
workable. But to apply this method as a hard
Iast rule is restrictive to the point oI artistic
death and boring to the listener as well.
Most oI our contemporary ideas and ways oI communicating music come through the
Greeks and Western European civilization. Music is made up oI units oI sound called
notes and units oI time called beats .
There are 12 intervals in a chromatic scale. These intervals (called halI-notes) then begin
to repeat at a higher pitch. The distance Irom one interval to the interval where it repeats
in the cycle is an octave . The diIIerence in pitch between the Iirst interval and the
repeating interval is double the cycles per second or hertz (Hz). This can be observed on
a guitar neck like this: the distance Irom the top oI the neck where the string comes
across the nut to the bridge divided in halI is one octave. On an A string (440 Hz) halI the
length oI the string is where the next A (880 Hz) in the cycle is located. This can then be
divided in halI again to locate the next A (1760 Hz) in the cycle oI octaves. This is a true
oI all the stings and all notes in the scale.
Most oI the varying scales we use are limited to 8 notes oI the chromatic scale. These
notes are separated as either Tones (2 halI-notes) or semi-Tones (1 halI-note). The scale
oI C major would look like this:
C Tone D Tone E semi F Tone G Tone A Tone B semi C
The scale oI A major would look like this:
A Tone B Tone C# semi D Tone E Tone F# Tone G# semi A
As a place oI origin or departure in doing lead work in the key oI A, on the A chord I
would create melodies that would begin and resolve to the A note (or other notes in the A
chord A-C#-E). When moving to a D chord I would create melodies that would begin
and resolve to the D note (or other notes in the D chord D-F#-A) while still using the
notes oI the A scale. This would be the same with the other chords that naturally are a
part oI the A scale.
The chords that are naturally a part oI the A scale are: A major, B minor, C# minor, D
major, E major, F# minor and G# diminished.
Much more can be said but this is enough to chew on Ior now.
Three Primary Modes
A Study in the Key of A
Beginning with the major scale (regardless oI
key), the possibilities begin to expand rather
quickly. The major scale contains the elements
(already put in order) oI six other scales.
Alternative scales are created by beginning and
ending on the other notes oI the major scale.
In the key oI A, the Iirst scale is the Ionian scale
or Major scale and begins on the Iirst note (A)
and proceeds up to the next A. The second scale
begins on the second note (B) and proceeds to the
next B.
Other scales are made similarly beginning on the
diIIerent notes that naturally occur in the Major
scale. The scales that are naturally created by the
Major scale are these:
1
st
note - Ionian or major
2
nd
note - Dorian
3
rd
note - Phrygian
4
th
note - Lydian
5
th
note - Mixolydian
6
th
note Aeolian or Relative Minor
7
th
note - Locrian
So, iI you are Iamiliar with the major scale, you
are just as Iamiliar with these other scales. You
only need to alter the note where you begin and
end.
These alternative scales are quite oIten associated with the chord naturally created in the
scales oI chords as related to the Major scale. In the key oI A Major, the B minor chord
would be associated with the Dorian scale beginning on the B note. C# minor would be
associated with the Phrygian scale beginning on C#. The chart below conveys these
relationships:
A Major A note - Ionian or Major scale
B minor B note Dorian scale
C# minor C# note Phrygian scale
D Major D note Lydian scale
E Major E note Mixolydian scale
F# minor F# note Aeolian scale or Relative minor scale
G# Diminished G# note Locrian scale.
Some oI these scales are more useIul than others. But that would depend upon what it is
you are trying to create. The Locrian scale associated with the 7
th
note in the Major scale
and the Diminished chord is virtually unused. (The Diminished chord is an interesting
chord that warrants exploration, but we re not there yet). There are three scales that stand
out as probably most common and useIul to Iocus on. The Major scale, the Relative
Minor scale and the Mixolydian scale. The others have their place, but Ior our purposes
these will be primary.
The Major scale (root scale) is probably most common, but that would still be relative to
the particular genre. Each Major scale has its Relative Minor scale. Essentially this means
a minor chord associated with a major chord are very similar. The relative minor oI A
Major is F# minor. The chord oI A Major is made up oI A, C# and E notes. The F# minor
is made up oI F#, A, and C# notes. There is a one note diIIerence between these chords,
the E or the F#. Major chords and their relative minor chords are oIten used together.
Doing lead work on the guitar, I oIten move between major and relative minor modes
without any problems. They Iit well together.
Although there are other minor chords and scales associated with them, B minor and C#
minor and Dorian and Phrygian scales respectively, the Aeolian/Relative minor scale is
the most common minor scale used when building a piece around and beginning with a
minor chord.
In the key oI A major, the Mixolydian scale has E as the root or tonic note. This is also
known as an E7th scale. Every one oI the notes oI the E7th chord naturally occurs within
this scale. This is not true oI the other chords. Applying a dominant 7
th
note to the other
chords related to these scales involves including notes that are Ioreign to the scale as it
naturally occurs. The Mixolydian scale is extremely versatile. It can be applied to almost
any genre, rock, blues, jazz, country, and bluegrass. There is an ease to adding transitory
notes or lowering the 3
rd
and implanting minor phases in the music. As a 7
th
base,
implementing extended chord variations (9
th
, 11
th
, and 13th) comes naturally.But we ll
dive into some oI these possibilities when we continue next time.
Migrating ScaIes
In the last lesson (Three Primary
Modes), concerning the Mixolydian
Scale I said There is an ease to
implanting minor phases in the music .
The Mixolydian scale is a scale that
Iinds it selI situated someplace between
the Major scale and the Minor scale. For
that reason it is possible to alter a single
note and move in the direction oI either
a Iull Major scale or alter a diIIerent
note and move into a Pentatonic Minor
scale, which can eventually evolve to a
complete Minor Scale.
As an artist, considering the possibilities here
is exciting. Movement in any direction is a
possibility. In this package is included the
elements oI all the Iamilies oI chords and the
ability to move between Iamilies with relative
ease, or at least a Ioundation to enjoy
experimentation with Iew limits.
What do I mean by Iamilies ?
There are only THREE main types or
"Iamilies" oI chords. Major, Minor and
(DOM) 7
th
. Melody permitting, any chord
may be substituted within a group or Iamily.
E.g. Cmaj 9 could be substituted Ior C as
long as there is no melody conIlict.
Normally chords within diIIerent Iamilies
can not be substituted Ior each other. But as
a piece develops and moves to an alternate
mode, permission to introduce chords Irom
diIIerent Iamilies is possible.
Next time Mixolydian Blues
MixoIydian BIues
In the last lesson I discussed moving between the Major and Minor scales using the
Mixolydian scale as an intermediate scale and including the Minor Pentatonic as a
transient scale between the Mixolydian and the Minor scales. Moving between the
Mixolydian and Minor Pentatonic Scales also opens more possibilities.
The Minor Pentatonic scale is the Ioundational scale Ior most Blues music. In the Key
oI E, whether using a E Major Chord, a E Minor Chord or a E7th Chord, the Minor
Pentatonic scale is the primary scale used in Blues. Using an E Major Chord or E7th
Chord, this leads to a dissonant tone with a Ilatted or diminished third note, but that is
what makes the Blues . In the key oI E it is the G note (down a semi-tone Irom G#)
that gives the Blues its character.
The Minor Pentatonic is only the basic Blues scale. To be limited to Iive notes is Iar too
restrictive Ior the dynamic and Iree expressive genre oI the Blues. I used to think oI the
Blues as a basic three chords (I-IV-V) and a simple lead lick. Not so now.
This basic scale is expanded by what I reIer to as transient notes. These are notes that
are not necessarily Ioundational to the scale and rarely are parking positions to resolve
lead licks, but are indispensable to the creation oI and movement through lead
progressions. OIten these notes are used as a base to hammer onto another note (usually
another primary scale note), or may be the note hammered on and oII oI. Or, they are
simply a transient between other scale notes.
These transient notes are generally added to the basic E Blues scale in this order:
Between A and B First transient - Bb
Between D and E - Second Transient Eb
Between G and A Third Transient Ab
And above D Fourth Transient - Db
The basic Minor Pentatonic along with these transients is what traditionally completes the
Blues scale.
We have already seen that moving Irom the Mixolydian to the Minor Pentatonic is a
relatively simple aIIair. The goal had been to move on into the Full Minor Scale. But
what iI instead, we decide to remain in the Minor Pentatonic and introduce Blues
Iormulas, including blues transients. And what about imposing the Minor Pentatonic over
the Mixolydian Scale, including the blues transients?
The Mixolydian Scale is known as the DOM 7
th
Scale. In the Key oI E, E7
th
is the
primary or root chord. Seventh (7
th
) chords are reIerred to as chords in transition. This is
because the DOM 7
th
note (Ilatted one semi-tone) is not natural to most scales and the
sense oI dissonance tends to imply a movement towards some natural resolution. In the E
Mixolydian scale, the D note (although natural to the E7
th
chord and scale), would not
normally be used as a note to resolve too. As a result of this apparent "dissonance" the
Mixolydian Scale is a natural scale Iit Ior the introduction oI notes Ioreign to itselI and
improvisational lead work. These new notes oIIer avenues toward resolution, although
most only remain transient.
As you look at these charts it becomes clear that aIter imposing one scale on another and
including traditional transitory blues notes, there are only two notes that do not Iind a
place in the scheme oI possibilities. The C and the F. But iI we expand to a Iull Minor
scale we can claim the C. And I m sure that iI we play around enough, we can Iind a way
to include that F.
Dorian Mode SpirituaI BattIeground
In a limited way we have examined the Major Scale and two primary modes derived Irom
it, the Relative Minor Aeolian and the DOM7th Mixolydian , and introduced the
Blues scale. There is another scale or mode derived Irom the Major scale that is used
quite oIten in rock music. I Iind this scale to be a bit more restrictive, but Ior the proper
application, perIect.
The Dorian scale is constructed beginning at the 2
nd
note oI the major scale and up the
scale until the octave is complete at the next occurrence. I Iind the Dorian scale to be
somewhat melancholy , not bluesy , but soIter, not conducive to up-beat rock & roll.
The illustration below shows the relationship between the C major scale and the Dorian,
Aeolian and Mixolydian scales contained within the scale.
The Dorian scale begins and ends with "D". The Aeolyian scale begins and ends with
"A". The Mixolydian scale begings and ends with "G". All are naturally contained within
the Iramework oI the "C" major scale.
Songs like "Nights In White Satin" by the Moody Blues are special because they bear the
marks oI the Dorian mode, a modal song type combining two scales a Minor and a
Major one with the same notes, but with diIIerent tonics which are lying only one,
whole tone step apart like, Ior instance, the keys oI E Dorian and D Major we hear in
"Nights In White Satin".
Two Traditional Dorian prototypes are the old sea shanty Drunken Sailor and the
traditional "Scarborough Fair", Scarborough Fair really is a Dorian song and also a real
traditional as it can be dated back unambiguously to the Late Middle Ages or rather the
Renaissance period.
Bob Dylan s Ballad oI Hollis Brown which drones on one chord, Dm, and applies base
notes oI F and C, is done using the Dorian Mode. To put is simply, Dm is the Root or
Tonic Chord and C Major is the scale that all improvisation are built on with D as the
tonic note. All improvisation resolves to the Dm.
The rock group the Doors, would sandwich their jam improvisations with basic choruses
as Ioundation to the improvisational poetry oI Jim Morrison. Each time a piece was
perIormed, the poetry would develop in character and scope and the jams would become
ever more related to and empathetic to the poetry as a cohesive work oI art. Two prime
examples oI this are The End on the Doors Iirst album, and When the Music s Over
on their Strange Days album. Both central sections are done using the Dorian Mode. In
its own way this is a very beautiIul and appropriate application oI the Dorian scale, at the
same time dark, depressing, potentially destructive and some may say demonically
inIluenced. I will not become a part oI that argument except to acknowledge that Jim
Morrison Ielt those Doors perIormances which were successIul were so because they
transcended the concert experience to become a group cleansing and healing ritual. We
know that he looked to Shamanism as a model Ior these ritual experiences (Evolution oI
the Electric Shaman: Jim Morrison's Journey Beyond Shamanism). What I am writing is
obviously not an endorsement oI Morrison s belieI and shamanism. It is recognition that
Morrison perceived a spiritual reality that we as Christians have turned a blind eye too.
This is purely a speculation on my part, but the use oI the Dorian Mode as a musical
entry into spiritual dimensions seems a natural and a musical dimension where sensitivity
or awareness to spiritual realities is enhanced or at least, more perceptive. It is a musical,
spiritual battle ground. You be the judge.
Bob Couchenour