Guitar Songs: Major scale

Showing posts with label Major scale. Show all posts

Saturday, March 20, 2010

Saturday, March 6, 2010

Harmonising the Major Scale

Description: How to use chords - a printer friendly explanation of harmonising the major scale to triads.
We have already studied diatonic chord theory
Taking the C major scale as an example:

The Roman numerals and generic names of each degree of the scale are constant for all keys. These are used, somewhat confusingly, to refer both to the notes on a major scale and to the chords built on those notes:

Here is the scale of D major harmonised. Notice that the key signature ensures the sequence of chord types remains the same, ie. I = major, II = minor, III = minor, IV = major, V = major, VI = minor, VII = diminished, VIII = major. This is true in all keys.

Sandwich Exercise

Used in conjunction with the CAGED system this exercise has the very powerful effect of enabling you to find a major scale in any key, anywhere on the fretboard, in either forward or backward diagonal positions.
Once mastered with the major scale it can then also be used to learn all other scales and modes.

The Sandwich exercise

Start by learning these seven octave patterns:

Forward diagonals:

Backward diagonals

For each octave pattern:

1. Play the octave (one slice of bread)
2. Play the major scale up and down (the filling in the sandwich)
3. Play the octave pattern again (the other slice of bread)


Note that where you drill this on the fretboard doesn’t matter -

it’s which string you start each pattern on that determines the actual shapes.





For example, starting at A on the sixth string:

Forward diagonals:

e------------------------------------------------
B------------------------------------------------
G------------------------------------------------
D----7-------------4-6-7-6-4----------------7----
A------------4-5-7-----------7-5-4---------------
E--5-----5-7-----------------------7-5----5------

e------------------------------------------------
B------------------------------------------------
G----7-------------4-6-7-6-4----------------7----
D------------4-5-7-----------7-5-4---------------
A--5-----5-7-----------------------7-5----5------
E------------------------------------------------

e------------------------------------------------
B----8-------------5-7-8-7-5----------------8----
G------------4-5-7-----------7-5-4---------------
D--5-----5-7-----------------------5-7----5------
A------------------------------------------------
E------------------------------------------------

e----8-------------5-7-8-7-5----------------8----
B------------5-6-8-----------8-6-5---------------
G--5-----5-7-----------------------7-5----5------
D------------------------------------------------
A------------------------------------------------
E------------------------------------------------ 

Backward diagonals:

e------------------------------------------------
B------------------------------------------------
G----2---------------1-2-1------------------2----
D----------------2-4-------4-2-------------------
A----------2-4-5---------------5-4-2-------------
E--5-----5---------------------------5----5------

e------------------------------------------------
B----3---------------2-3-2------------------3----
G----------------2-4-------4-2-------------------
D----------2-4-5---------------5-4-2-------------
A--5-----5---------------------------5----5------
E------------------------------------------------

e----3---------------2-3-2------------------3----
B----------------3-5-------5-3-------------------
G----------2-4-5---------------5-4-2-------------
D--5-----5---------------------------5----5------
A------------------------------------------------
E------------------------------------------------

Various shapes of chords = CAGED system

We have various open chords, consider open chords of C, A, G, E, D.
I have written major chord notes like 1 3 5 , for example for C chord it is C, E , G...now we can note how these notes are on different strings.
C shape chord = C E G
x-----------
|----3-----1
|----2-----3
|----------5
|----1-----1
|----------3

A shape chords = A C# E
x-----------
|---------A-1
|----2----E-5
|----2----A-1
|----2----C#3
|---------E-5

G shape chord = G B D
|----3------1
|----2------3
|-----------5
|-----------1
|-----------3
|----3------5

E shape chord = E G#/Ab B

|----------1
|----2-----5
|----2-----1
|----1-----3
|----------5
|----------1

D shape = D F# A
|----------x
|----------x
|----------1
|----2-----5
|----3-----1
|----2-----3

So we can summarize it as :
Shape    Note order on string
C              1 3 5 1 3
A              1 5 1 3 5
G             1 3 5 1 5 1
E             1 5 1 3 5 1
D            1 5 1 3
Note that A,E,D resemble in order and also C, G resemble a bit.
Now we can make various barre chords according to these shapes. See making barre chords.

CAGED system
Start by locating the Root Notes of each of these familiar chords:

Each set of root notes forms a unique movable Octave Pattern :

By laying these five patterns out so that they overlap each other in the order that spells the word 'CAGED' we are able to chart every occurrence of any given note on the fretboard:

Applying Various Chord formula

Now we have to apply various chord formula like 1 3 5, 1 3b 5, etc on some chord. For example we pick up A chord.
So A has 1 3 5 as A , A+2T, A+2T+1.5 T
So 1 = A
3 = C#
5 = E
So we have to select A , C# and E from string and we have A chord.
Learn how to read chord diagrams.

One way to do so is like this:

x-----------
|---------A-
|----2----E-
|----2----A-
|----2----C#
|---------E-

A is played open is base note of the chord. We have marked them according to the chords formula.
x-----------
|---------A-1
|----2----E-5
|----2----A-1
|----2----C#3
|---------E-5

Now for minor chord we need, 1 3b 5...so we have to flatten 3,i.e C# here. So we have to move finger to flatten it, so Am chord is:
x-----------
|---------A-1
|----2----E-5
|----2----A-1
|----1----C-3
|---------E-5

     Am

Sus Chords
Sus2 is 1 2 5 chords. So we have to flatten 3 by 1T or 2 frets.
So we have
x-----------
|---------A-1
|----2----E-5
|----2----A-1
|---------b-2
|---------E-5
Asus2
Similarily sus4 chords are 1 4 5 chords, that add .5T or 1 fret to 3 note in scale.
x-----------
|---------A-1
|----2----E-5
|----2----A-1
|----3----D-2
|---------E-5
Asus4

7 Chords

Now for A7 we need 1 3 5 7...7 = 5 + 1.5T= E = 1.5T = G
We know that 1 = 8 in octave, that is 8 and 1 is same note...So we can have 8 - 1T = 7...So we will flatten 1 i.e.A(not base one but in the G string) by 2 frets...So we have:
x-----------
|---------A-1
|----2----E-5
|---------G-1
|----2----C#3
|---------E-5

     A7

Similarily Am7 is 1 3b 5 7...so we have

x-----------
|---------A-1
|----2----E-5
|---------A-1
|----1----C-3
|---------E-5

     Am7

Diminished Chords
Diminished chords have formula 1 3b 5b..
So we have to flatten both C# and E by 1 fret.
x-----------
|---------A-1
|----1----Eb5
|----2----A-1
|----1----C-3
|---------E-5

     Adim
Diminished 7
Formula for this is 1 3b 5b 7b dim-7          = minor 5 flat 7 = m5b7
7 = 5 + 1.5T so 7b = 5+1T or 8(or 1) - 1.5T or 3 frets
x-----------
|----------1
|----1-----5b
|----2-----1
|----1-----3
|----2-----7b
Adim7
x-----------
|----------1
|----1-----5b
|----2-----1
|----1-----3
|----2-----7b

Half Diminished 7
Formula is 1   3b   5b   7    half diminished = minor 5
x-----------
|----------1
|----1-----5b
|----2-----1
|----1-----3
|----3-----7

Augmented
Formula for augmented chord is 1    3     5# .
x-----------
|----------1
|----3-----5#
|----2-----1
|----2-----3
|----1-----5#

So we can also make chords for E, C etc.

THE MAJOR SCALE AND PROGRESSION THEORY

There are so many chords and chord progressions, the combinations of them are virtually unending. So we'll start with the old standby, the MAJOR SCALE and how it affects chord progressions.

There are 7 notes in the major scale, each made up of different intervals.
You can build chords on each of these notes.
Some of them are minor chords, some of them are major chords, some of them are diminished chords.

REMEMBER THAT CHORDS CAN BE SUBSTITUTED BY OTHER CHORDS IN THEIR FAMILY so the I, IV and V may be substituted for other major family chords

the Major Chord Progression Pattern:

Major I ... minor ii ... minor iii ... Major IV ... Major V ... minor vi ... diminished vii

Chord / Key	A	B	C	D	E	F	G
I	A	B	C	D	E	F	G
ii	b minor	c# minor	d minor	e minor	f# minor	g minor	a minor
iii	c# minor	d# minor	e minor	f# minor	g# minor	a minor	b minor
IV	D	E	F	G	A	B	C
V	E	F#	G	A	B	C	D
vi	f# minor	g# minor	a minor	b minor	c# minor	d minor	e minor
Vdim	G# dim	A# dim	B dim	C# dim	D# dim	E dim	F# dim

Thursday, March 4, 2010

Using the formula of major scale formula to get various scale

Using this formula we can get many scales...eg.

Note Major Scale

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

Order of Sharps and Flats

ORDER OF FLATS F Major = one flat(Bb)
Bb Major = two flats
Eb Major = three flats
Ab Major = four flats
Db Major = five flats
Gb Major = six flats
Cb Major = seven flats

ORDER OF SHARPS: G Major = one sharp(F#)
D Major = two sharps(F#C#)
A Major = three sharps(" G#)

E Major = four sharps(" D#)
B Major = five sharps( " A#)
F# Major = six sharps(" E# )
C# Major = seven sharps(" B#)
Consider circle of 5ths.

Using the Circle of 5ths

To use the Circle of 5ths, you have to figure out what key you are playing in. If you know the key, at the very least, you know you know what chord to go back to. Then the hard part is knowing only what chords are in that key.

Consider Sharps
The circle of fifths helps us identify that key and those chords.

With the Circle of 5ths, you can see how many sharps each key or major scale contains.

C = 0 sharps
Each key as you go down adds the 7th sharp:
- G adds F#
- D keeps F#,adds C# ...
Each of these new sharps just happens to be a perfect 5th from the first sharp, F# ... f# g a b c d e

To remember the order of these, remember this quote or make up your own,

“Cool Guitarists Do Absolutely Everything Better ... freak”

Now consider flats

This is basically a continuation from the sharps side. Gb and F# are the same notes, just different names. We switch to flats to make life simpler, because we'd get into double sharps and all that nonsense.
So instead of adding more sharps we take away flats. Let's look at F# and Gb
F# ... F#G#A#BC#D#E#
Gb ... GbAbBbCbDbEbF
See, they're all the same notes.
Now go up a 5th from Gb to Db.
Now we take the flat 7th away, which would be “Cb.”
Next we move up another 5th from Db to Ab and take away the 7th flat, which is Gb
Next we move up another 5th from Ab to Eb and take away the 7th flat, which is Db
Next we move up another 5th from Eb to Bb and take away the 7th flat, which is Ab
Next we move up another 5th from Bb to F and take away the 7th flat, which is Eb. That leaves us with Bb only.
To be honest with you we could analyze the hell out of this thing for hours and hours and still be digging deeper and deeper. We'll look at this a few more times in its entirety and make a few observations.
Now for another cheezy little quote to remember the order of the flats from the c counter-clockwise,

“Cool freakin' BEAD g”

Yeah, I know, but it helps to remember the order of the keys. If not just make something up.

Guitar Theory: Uses of the Circle of 5ths

Find out how many sharps and flats are in each key: ALWAYS START on the F and REMEMBER THE ORDER OF THE NOTES ON THE CIRCLE

Sharps:

Take your key and the sharps will be each of the notes leading to that key from F. Include F

EXAMPLE:

Key of A (we know that A has 3 sharps) From F we have F, C and G (counting 3 from F) so the sharps = F# , C#, G#

Flats:

Take your key and the flats will be the notes leading to that key from F again plus the next note. Don't include F

EXAMPLE:

Key of Db (we know that Db has 5 flats) From F we have B, E, A, D, G so those will be the flats Bb, Eb, Ab, Db, Gb SIMPLE RIGHT?

Find out what chords are in a key and what their flavor is.
Take the G major key. In that key we know that there is one sharps and that is F#. We know that F# is the 7th of the G because it's the letter that precedes the G alphabetically. So it is diminished.

Finding major and minor keys in the Circle of 5ths

Looking at the Circle of Fifths: the left and right hand man of the key you want are major. After that, the next 3 chords are minor.Then you arrive at the 7th, which we know is diminished. There you go.
So for G = (G C D) (A E B) (F#) are what we get ... G C D are Major, A E B are minor, and F# is diminished.
Put them in order = G a b C D e F#

G	a	b	C	D	e	F#
Major	minor	minor	Major	Major	minor	diminished
I	ii	iii	IV	V	vi	VIIo

remember that the outer circle is major

Guitar Theory: Summary of Circle of Fifths

So now we know that the circle of fifths shows us:

the notes in every major scale and minor scale
how many flats and sharps are in each key signature
what keys share key signatures
how to quickly see what relative minor belongs to what key
what the dominant and subdominant of every chord / key and consequently where each dominant resolves
the more we study it, the more we will understand the movement and relationship between chords and notes

So where do we start?!! That's a ton of info!
1. Let's start with memorizing the notes and where they are on the Circle of Fifths:
MAJOR KEYS: STARTING WITH C
KEYS WITH SHARPS: down the right side CGDAEBF
KEYS WITH FLATS: down the left CFBbEbAbDbGb
2. Memorize how many sharps and flats each gets: 0123456 (respectively)
3. Memorize how to remember what's flat and sharp:
START WITH F ...
Sharps = count the number of sharps your note has clockwise and those are your sharps. Include F as a sharp.
Flats = count the number of flats your note has counterclockwise from F and those are your flats. Don't count F as a flat.
4. Where the relative minor is in relation to the MAJOR keys and consequently what Keys share Key Signatures.

C	G	D	A	E	B	F	MAJOR KEYS and KEY SIGNATURE
a	e	b	f#	c#	g#	d#	minor keys that share key sig. above

5. Where the minor keys lie in the Circle of Fifths:
MINOR KEYS: STARTING WITH Am
KEYS WITH SHARPS:
down the right side: Am ... Em ... Bm ... F#m ... C#m ... G#m ... D#m
KEYS WITH FLATS:
down the left side: Am ... Dm ... Gm ... Cm ... Fm ... Bbm ... Cbm
6. Memorize how many sharps and flats each gets:
0 ... 1 ... 2 ... 3 ... 4 ... 5 ... 6 (respectively)
7. Where the tonic, supertonic, mediant, subdominant, dominant, submediant and leading tones occur on the
circle and what their flavor is for Minor keys and Major keys. (major / minor / diminished)
8. Realize where tonic category chords are, subdominant chords are and dominant chords are on the circle.

CLOCKWISE: every degree separated by 5ths
COUNTERCLOCKWISE: every degree separated by 4ths
OUTSIDE: major scale, major chords forms, major keys, key signatures
INSIDE: minor scale, minor chord forms, relative minor to key chords

OUTSIDE

1 LEFT	4th	sbdominant	Major chord
1 RIGHT	5th	dominant	Major chord
2 RIGHT	2nd	supertonic	minor chord
3 RIGHT	6th	submediant	relative minor chord
4 RIGHT	3rd	mediant	minor chord
5 RIGHT	7th	leading tone	diminished chord
across	b5th	tritone

INSIDE

1 LEFT	4th	sbdominant	minor chord
1 RIGHT	5th	dominant	minor chord
2 RIGHT	2nd	supertonic	diminished chord
3 RIGHT	6th	submediant	Major chord
4 RIGHT	3rd	mediant	minor chord
5 RIGHT	7th	leading tone	Major chord
across	b5th	tritone

This stuff cna be very confusing. Take a look at it. Study the charts. Then walk away and come back to it. It'll take some time to really understand the theory and then be able to apply it. But it is well worth it to have done this. If you want a short cut, I'd suggest going to the chord progressions page and learning the patterns on that page.

5 Positions of major Scale

According to CAGED guitar system, there are 5 positions of major scales on guitar.......
E

D
This is sometimes referred to as the Dorian position because the lowest note is the second scale degree - but you're going to start on the root note and hear it as the Major scale, aren't you? :).
* - this note should use the 4th finger when the scale is descending and the 3rd finger when it is ascending. I believe this is the best fingering and keeps you hand in the best position.
Alternatives
The most common alternative is to move the two notes behind the root (strings 3/4, played with first finger) to strings 5/4 and playing them with the little finger. I don't see this as a bad way of doing it but this way the third of the chord is closer to the chord shape (which is how I see scales).

C
This is sometimes referred to as the Phrygian position because the lowest note is the third scale degree

A
Don't forget to start on the root note, not the lowest note...
Alternatives
The most common alternative is to move the last note on the second string (played with 4th finger) to the first string (then played with 1st finger). I prefer this position because it is very common to add that note (it is the 4th degree of the scale) to make a suspended sound and this is the place where you would add it.
Other alternative is to add a high B note to the top of the scale, but then it becomes a 3NPS (Notes Per String) scale which is another system that we are not doing here...

G

This is sometimes referred to as the Aeolian position because the lowest note is the sixth scale degree - but you're going to start on the root note and hear it as the Major scale, aren't you? :).
* - this note should use the 4th finger when the scale is descending and the 3rd finger when it is ascending. I believe this is the best fingering and keeps you hand in the best position.
Alternatives
The most common alternative is to move the note behind the root (strings 3, played with first finger) to strings 4 and playing it with the 4th finger. I don't see this as a bad way of doing it but this way there is a consistent method to fingering the scales - in relation to the other shapes above.

Fretboard map for C scale

E |-o-|---|-o-|---|-o-|---|-o-|-R-|---|-o-|---|-o-|
B |-R-|---|-o-|---|-o-|-o-|---|-o-|---|-o-|---|-o-|
G |---|-o-|---|-o-|-R-|---|-o-|---|-o-|-o-|---|-o-|
D |---|-o-|-o-|---|-o-|---|-o-|---|-o-|-R-|---|-o-|
A |---|-o-|-R-|---|-o-|---|-o-|-o-|---|-o-|---|-o-|
E |-o-|---|-o-|---|-o-|---|-o-|-R-|---|-o-|---|-o-|
0   1   2   3   4   5   6   7   8   9   10  11  12

This map shows you where the notes that make up the scale exist on the fretboard. The R represents the root note of the scale.

C major Scale

o |-o-|---|-o-|---|
o |-R-|---|-o-|---|
o |---|-o-|---|---|
o |---|-o-|-o-|---|
o |---|-o-|-R-|---|
o |-o-|---|-o-|---|
    1   2   3   4

    |------------------------------0-1-3--|
    |------------------------0-1-3--------|
    |--------------------0-2--------------|
    |--------------0-2-3------------------|
    |--------0-2-3------------------------|
    |--0-1-3------------------------------|

E |-o-|---|-o-|---|-o-|
B |-R-|---|-o-|---|-o-|
G |---|-o-|---|-o-|---|
D |---|-o-|-o-|---|-o-|
A |---|-o-|-R-|---|-o-|
E |-o-|---|-o-|---|-o-|
    1   2   3   4   5

    |------------------------------1-3-5--|
    |------------------------1-3-5--------|
    |--------------------2-4--------------|
    |--------------2-3-5------------------|
    |--------2-3-5------------------------|
    |--1-3-5------------------------------|

E |---|-o-|---|-o-|---|
B |---|-o-|---|-o-|-o-|
G |-o-|---|-o-|-R-|---|
D |-o-|-o-|---|-o-|---|
A |-o-|-R-|---|-o-|---|
E |---|-o-|---|-o-|---|
    2   3   4   5   6

    |------------------------------3-5--|
    |------------------------3-5-6------|
    |------------------2-4-5------------|
    |------------2-3-5------------------|
    |------2-3-5------------------------|
    |--3-5------------------------------|

E |-o-|---|-o-|---|-o-|
B |-o-|---|-o-|-o-|---|
G |---|-o-|-R-|---|---|
D |-o-|---|-o-|---|-o-|
A |-R-|---|-o-|---|-o-|
E |-o-|---|-o-|---|-o-|
    3   4   5   6   7

    |------------------------------3-5-7--|
    |------------------------3-5-6--------|
    |--------------------4-5--------------|
    |--------------3-5-7------------------|
    |--------3-5-7------------------------|
    |--3-5-7------------------------------|

E |---|-o-|---|-o-|-R-|
B |---|-o-|-o-|---|-o-|
G |-o-|-R-|---|-o-|---|
D |---|-o-|---|-o-|---|
A |---|-o-|---|-o-|-o-|
E |---|-o-|---|-o-|-R-|
    4   5   6   7   8

    |------------------------------5-7-8--|
    |------------------------5-6-8--------|
    |------------------4-5-7--------------|
    |--------------5-7--------------------|
    |--------5-7-8------------------------|
    |--5-7-8------------------------------|

E |-o-|---|-o-|-R-|---|
B |-o-|-o-|---|-o-|---|
G |-R-|---|-o-|---|---|
D |-o-|---|-o-|---|-o-|
A |-o-|---|-o-|-o-|---|
E |-o-|---|-o-|-R-|---|
    5   6   7   8   9

    |------------------------------5-7-8--|
    |------------------------5-6-8--------|
    |--------------------5-7--------------|
    |--------------5-7-9------------------|
    |--------5-7-8------------------------|
    |--5-7-8------------------------------|

E |---|-o-|-R-|---|-o-|
B |-o-|---|-o-|---|-o-|
G |---|-o-|---|-o-|---|
D |---|-o-|---|-o-|-R-|
A |---|-o-|-o-|---|-o-|
E |---|-o-|-R-|---|-o-|
    6   7   8   9   10

    |----------------------------------7-8-10--|
    |---------------------------6-8-10---------|
    |-----------------------7-9----------------|
    |----------------7-9-10--------------------|
    |---------7-8-10---------------------------|
    |--7-8-10----------------------------------|

E |-o-|-R-|---|-o-|---|
B |---|-o-|---|-o-|---|
G |-o-|---|-o-|-o-|---|
D |-o-|---|-o-|-R-|---|
A |-o-|-o-|---|-o-|---|
E |-o-|-R-|---|-o-|---|
    7   8   9   10  11

    |-----------------------------------7-8-10--|
    |------------------------------8-10---------|
    |-----------------------7-9-10--------------|
    |----------------7-9-10---------------------|
    |---------7-8-10----------------------------|
    |--7-8-10-----------------------------------|

E |-R-|---|-o-|---|-o-|
B |-o-|---|-o-|---|-o-|
G |---|-o-|-o-|---|---|
D |---|-o-|-R-|---|-o-|
A |-o-|---|-o-|---|-o-|
E |-R-|---|-o-|---|-o-|
    8   9   10  11  12

    |---------------------------------------8-10-12--|
    |-------------------------------8-10-12----------|
    |--------------------------9-10------------------|
    |------------------9-10-12-----------------------|
    |----------8-10-12-------------------------------|
    |--8-10-12---------------------------------------|

E |---|-o-|---|-o-|-o-|
B |---|-o-|---|-o-|-R-|
G |-o-|-o-|---|-o-|---|
D |-o-|-R-|---|-o-|---|
A |---|-o-|---|-o-|---|
E |---|-o-|---|-o-|-o-|
    9   10  11  12  13

    |------------------------------------------10-12-13--|
    |---------------------------------10-12-13-----------|
    |-------------------------9-10-12--------------------|
    |-----------------9-10-12----------------------------|
    |-----------10-12------------------------------------|
    |--10-12-13------------------------------------------|

E |-o-|---|-o-|-o-|---|
B |-o-|---|-o-|-R-|---|
G |-o-|---|-o-|---|---|
D |-R-|---|-o-|---|-o-|
A |-o-|---|-o-|---|-o-|
E |-o-|---|-o-|-o-|---|
    10  11  12  13  14

    |--------------------------------------------10-12-13--|
    |-----------------------------------10-12-13-----------|
    |-----------------------------10-12--------------------|
    |--------------------10-12-14--------------------------|
    |-----------10-12-14-----------------------------------|
    |--10-12-13--------------------------------------------|

E |---|-o-|-o-|---|-o-|
B |---|-o-|-R-|---|-o-|
G |---|-o-|---|-o-|---|
D |---|-o-|---|-o-|-o-|
A |---|-o-|---|-o-|-R-|
E |---|-o-|-o-|---|-o-|
    11  12  13  14  15

    |--------------------------------------------12-13-15--|
    |-----------------------------------12-13-15-----------|
    |-----------------------------12-14--------------------|
    |--------------------12-14-15--------------------------|
    |-----------12-14-15-----------------------------------|
    |--12-13-15--------------------------------------------|

The red R signifies the root note position. See below for all fingerings.

Tuesday, March 2, 2010

Introduction to Modes

MODES ARE EASY, when you understand them! I personally had a difficult time with modes and spent many hours reading every book I could find on them, but all I got was more confused. Now I understand how they are used, they seem so simple... so what I want to do is to try and explain all the things that confused me, and hope that it helps you.
MODES ARE THE SAME AS THE MAJOR SCALE, but have a different tonal centre. What does that mean, and why is it important? Well to understand that you need to understand a bit about Diatonic Chord Sequences, which will be covered in a lesson by itself. What you need to understand for now is that all the modes have the same notes as a major scale, but you would play it over a chord other than the root. huh? If play a G Major Scale over an A minor chord, you would be playing the A Dorian Mode. Don't try and understand that just yet, just grasp that idea. Using the modes is as easy as playing the Major Scale, just the tonal centre (or chord that you are playing over) does not have the same tonal centre as the Major Scale.
So lets get to grips with a few terms that you will need to understand first:
Diatonic Chord Sequence - This explains the chords found in a key. For example: The diatonic chord sequence in the key of C is, C, Dmin, Emin, F, G, Amin, Bdim. More in this in couple of lessons time.
Tonal Centre - This is the foundation of the harmony, usually the chord that the mode will be played over. This will also help define what I call the "Home Notes" which are the notes that you can settle on and sound good. It's really important that you get to grips with this idea and I will give you some examples of how to use this later.
Parent Major Scale (PMS) - This is my term for the Major scale that a Mode comes from. The notes of the mode and the PMS will be the same but the tonal centre will be different. For example, I might write B Dorian mode (PMS: A Major) which will mean that the PMS of B Dorian is the A Major Scale.
Home Notes - These notes will help you define the tonal centre and are usually the chord tones of the Tonal Centre.
Series - Looking at the series of modes that come from one Major Scale. For example, the modes that all come from the same PMS: in C Major would be C Ionian, D Dorian, E Phrygian, etc.
Parallel - Looking at all the modes that have the same tonal centre. For example, The modes that have the tonal centre of C (but different PMS) would be C Ionian, C Dorian, C Phrygian, etc.

Wednesday, February 17, 2010

Major Scale Introduction

The major scale is the cornerstone of all western harmony. It has seven notes (plus the octave in practice), which in solfege are the syllables: Do, Re, Mi, Fa, Sol, La, Ti and Do. If it doesn't sound like that, something is wrong...

Fingering

With each scale I have discussed my preferences for fingering the scale. There are many approaches and so long as you have a logical one, it will be fine. I have thought about these things a lot and think I have a compelling argument in favour of each finger decision, but please contact me (via the forum) if you disagree - I am certainly up for discussing it (how sad... get a life...).
I will also add the alternative shapes and fingerings that I know are in common usage and my reasons for choosing the ones I do. There is no right and wrong.

Practice

All these CAGED shapes have 17 notes (3 notes on each string, except for one string which will have only 2 notes). This gives you the perfect number for practicing scales with a metronome because if done correctly with 4 notes between each metronome click (16th notes, semi quavers) you will always arrive back on the root note on the beat :)

Scale Formula

The scale formula for the major scale must be memorised, as you will use it often to work out chord tones. The formula describes the interval distances between each note of the scale.

T ^ T ^ S ^ T ^ T ^ T ^ S
(T=Tone, S= Semitone)

In terms of frets it is 221 2221 ..

Examples

Note Major Scale

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

c major
graphic showing how in c the 2 2 1 2 2 2 1 skips all of the sharps and
flats and selects naturals

more

Points to remember

major scale points to remember, process is 2 2 1 2 2 2 1, where 2
is whole step or 2 frets and 1 is a half step or 1 fret, this can be
done from any tone to build a key, each key has a distinct group of
tones, major scale pattern produces the numbering for whatever is number
one, numbering is one through seven, one through seven are diatonic, in
major scale half step are between steps 3 and 4 then 7 and 8

Tips for learning scales quickly, easily and perfectly

• DO IT SLOWLY AND GET IT RIGHT
Don't make any mistakes. Play it 4 times perfectly at a very slow speed and you will find you can speed it up without making mistakes and developing bad habits you will have to correct later.
• USE YOUR FINGER TIPS
Do not let your fingers "fold", use the tips the whole time, and definitely NO barres at any point. Ever.
• ALWAYS START AND END ON THE LOWEST ROOT NOTE
T his will help train your ears into hearing the sound of the major scale, very important. So start on the lowest (pitched) root note, play up as far as you can, then go back down as low as you can, and then back up to the root note.
• LEARN THE POSITIONS (SHAPES) ONE AT A TIME
It is very important that you get all five of these positions down... eventually, but please start with one at a time - much much better to be able to use one scale shape and play a solo than play five up and down and not be able to do anything with them :)

Note:
The following two are important to remember, we call them accidentals:

#: the sharp sign: makes a note a half step higher
b: the flat sign: makes a note a half step lower

Wednesday, January 27, 2010

Finding a Chord in a key (Diatonic Chord Sequence)

What chords are in what key, and why? This lesson assumes basic knowledge of the Circle of 5ths.
Part 1: Basic Triads.
Each diatonic scale has 7 different notes, which gives way to 7 possible triads for each key in music.

A triad is the 1st, 3rd, and 5th notes of a scale played simultaneously to form a chord.
All chords are formed based on their respective major diatonic scale. A C chord is built on a C major scale, a D chord is built on a D major scale, etc.

When these triads are formed from each degree of the scale we get a series of chords, called the diatonic chord sequence.

There are 7 chords for each key, which correspond to the 7 notes in each key's scale. Some chords can be in more than one key - for example, a D major chord can be in the keys D, A, or G.

Even more is revealed when you look at diatonic quadad (4 note chords) sequence. You should know the formations of Major 7, minor 7, Dominant 7 and min7b5 chords.

I'll use the key of C as an example:
The key of C includes the notes C D E F G A B C.
Each note of the scale corresponds to a scale degree as shown:
Note:     C D E F G A B C
Degree: 1 2 3 4 5 6 7 1

You can form 7 basic chords (triads) from the notes in the key of C. Each different note is the root of a different chord.

We know that triad formation is:
Major triad: 1 3 5
Minor triad: 1 b3 5
Diminished triad: 1 b3 b5

Quadad formation
Major 7th:            1 3 5 7 - Abbreviation: maj7
Minor 7th:            1 b3 5 b7 - Abbreviation: min7
Dominant 7th:       1 3 5 b7 - Abbreviation: 7, dom7
Minor/Major 7th: 1 b3 5 7 - Abbreviation: min/maj7

Your first chord will be a C chord, because C is the first scale degree. Now, since this is a C chord, it will be based on the C major diatonic scale. Take scale degrees 1 3 5 as shown below:
C scale
Note:     C D E F G A B C
Degree: 1   2 3 4 5 6 7 1

This gives you notes C, E, and G. Since all 3 of those notes are in the key of C, you do not have to modify them to fit, and you have a major triad (1 3 5). So your first chord is C major. Similarily quadad is CEGB.

The second chord will be a D chord, because D is the 2nd scale degree. It's based on the D scale, which is D E F# G A B C# D. Now, take 1 3 5 of D scale:
D scale
Note:     D E F# G A B C# D
Degree: 1 2 3   4 5 6 7 1

This gives notes D F# A. This presents a problem - F# is not in the key of C! In order to keep this chord in key, we have to flat the F# (lower it by 1/2 step) down to F natural. This gives D F A, which is scale degrees 1 b3 5 of the D major scale. 1 b3 5 is the formula for a minor triad. Therefore, your second chord is D minor.
Quadad has notes DF#AC#....so we have to flatten 3rd and 5th note....So it is 1 b3 5 b7......This gives us minor 7th chord....

Our 5th chord is a G chord - let's find the 7th.
Note:    G A B C D E F# G
Degree: 1 2 3 4 5 6 7   1

Our notes are G B D F#. F# (7th) must be flatted to an F natural (b7). Our scale degrees are 1 3 5 b7, which is the formula for a dominant 7th chord. Our 5th chord is G7!

The seventh chord will be a B chord, because B is the 7th scale degree. It's based on the B scale, which is B C# D# E F# G# A# B. Now, take 1 3 5 of this scale:
B scale
Note:    B C# D# E F# G# A# B
Degree: 1 2 3 4 5 6 7 1

This gives notes B D# F#. D# (3) and F# (5) are not in the key of C, and must be flatted to D (b3) and F (b5), respectively. This gives us scale degrees 1 b3 b5, which is the formula for a diminished triad.
Based on these examples, you can figure out the rest of the chords. However, they always follow a pattern:
1 - major
2 - minor
3 - minor
4 - major
5 - major
6 - minor
7 - diminished
In other way
Major … Minor(2)….Major(2)….minor…Diminished(Note alternate maj n minor n end with d)
By applying this pattern, you can quickly figure out that the chords in the key of C are:

Cmaj
Dmin
Emin
Fmaj
Gmaj
Amin
Bdim

All the notes contained in the above chords will be in the key of C.

Shared notes are numbered

	1	2	3	4	5	6	7
C	1		3		5
dm		2		4
em			3		5
F	1			4
G		2			5
am	1		3
Bdim		2		4

Notes in the chord

C - E - G         C Major Chord (I)
D - F - A          D minor Chord (ii)
E - G - B         E minor Chord (iii)
F - A - C          F Major Chord (IV)
G - B - D        G Major Chord (V)
A - C - E         A minor Chord (vi)
B - D - F         B diminished Chord (viiº)

This pattern works for any of the keys in the Circle of 5ths. It does not, however, cover any scales that are not the major scale (such as the harmonic minor scale, for example. That has its own pattern of chords).
Chord progressions for various Keys

Using the same method you can figure out the other chords. They also follow a pattern. That pattern goes as follows:
1 - maj7
2 - min7
3 - min7
4 - maj7
5 - dom7
6 - min7
7 - min7(b5)

And, as you may have guessed by now, the chords in the key of C are:
Cmaj7
Dmin7
Emin7
Fmaj7
G7 OR Gdom7 (they are the same chord)
Amin7
Bmin7(b5)

Summary
Lets look at the diatonic chords as Triads and Quadads...

Degree	Triad Notes	Chord	Quadad Notes	Chord
I	C E G =	C	C E G B =	C Maj 7
II	D F A =	D min	D F A C =	D min 7
III	E G B =	E min	E G B D =	E min 7
IV	F A C =	F	F A C E =	F Maj 7
V	G B D =	G	G B D F =	G 7
VI	A C E =	A min	A C E G =	A min 7
VII	B D F =	B dim	B F D A =	B min 7 b5

I hope you know that to improvise over any of the above chords (in any order) you can play the C Major Scale.
Be sure to notice that the order of the chords will stay the same in every key. So you can place this chord sequence on the notes of any major scale. Please check this out yourself and try it on a few different keys, maybe Key of E and Key of Bb. Check that the notes for each chord add up to the chords shown in the sequences below. This will help you memorise the Diatonic Sequences and also help solidify your understanding of chord construction. Both are essential to understand modes.

	I	II	III	IV	V	VI	VII
Triads	Major	minor	minor	Major	Major	minor	dim
Quadads	Maj 7	min 7	min 7	Maj 7	7	min 7	min7 b5

Before you even think about modes you need to be good at playing over these chords in any order, and your ear needs to be tuned into hearing when you are on a good note and when you are on a bad note. Pick a key, write out the diatonic chords in that key and then record them and practice doing solos over them. Or get a jam buddy, get him to play any random chords from a chosen key (he MUST stay only playing chords in that chosen key) and then you solo over it. Then swap over and give him a turn at soloing. Of course this will help you with your barre chords too!
Generally a good note will be a chord tones of any note you are playing over. The bad ones will be the notes in between. Get your ears to recognise the good notes. There is theory behind it of course, and we will explain all that, but most importantly is that your ear can hear the difference between the good and bad notes.
Remember music is about listening, not thinking!

Now we can go to harmonizing the major chord.

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Saturday, March 20, 2010

15 essential scales

Saturday, March 6, 2010

Harmonising the Major Scale

Sandwich Exercise

Various shapes of chords = CAGED system

Applying Various Chord formula

THE MAJOR SCALE AND PROGRESSION THEORY

the Major Chord Progression Pattern:

Thursday, March 4, 2010

Using the formula of major scale formula to get various scale

Using the Circle of 5ths

Guitar Theory: Uses of the Circle of 5ths

Finding major and minor keys in the Circle of 5ths

Guitar Theory: Summary of Circle of Fifths

5 Positions of major Scale

Fretboard map for C scale

C major Scale

Tuesday, March 2, 2010

Introduction to Modes

Wednesday, February 17, 2010

Major Scale Introduction

Wednesday, January 27, 2010

Finding a Chord in a key (Diatonic Chord Sequence)

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