Guitar Resources

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www.davidpriceguitartuition.co.uk

Guitar resources

by David Price

TABLE OF CONTENTS

INTRODUCTION 3

EQUIPMENT 4

BASIC GUITAR MAINTENANCE 5

HOW TO HOLD THE GUITAR 6

HOW TO TUNE THE GUITAR 7

ALTERNATE TUNINGS 8

HOW TO READ TABLATURE 10

GUITAR TECHNIQUES 11

MUSICAL DIRECTIONS 15

FINGERING 18

THE CIRCLE OF FIFTHS 21

HOW TO READ CHORD DIAGRAMS 24

HOW TO USE THE CHORD DICTIONARY 26

ESSENTIAL OPEN CHORDS 28

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ESSENTIAL BAR CHORDS 29

CHORDS WITH THE ROOT NOTE ON THE 6TH STRING 30



THE MAJOR SCALE 35

PENTATONIC SCALES 37

BLUES SCALES 38

MINOR SCALES 39

MODES OF THE MAJOR SCALE 41

BEBOP SCALES 45

DIMINISHED SCALES 47

MODES OF THE MELODIC MINOR 48

OTHER INTERESTING SCALES 51

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Introduction

In this text, I have tried to include a lot of the basic information you need to play guitar, as well as some more advanced guitar techniques and theory. Don't try to run before you can walk! Each section tends to begin with the most important information. So, for example, when studying chord shapes, start with the beginning of that chapter - open chords and essential barre chords. This book isn't really designed to be read from cover to cover, as you would a novel. You'd be better off dipping into different sections. Take half an hour to study pentatonic scales, or see how many chords with the root on the 4th string you already know. Of course, it wouldn't take you that long to actually read the entire text, although it will probably take you a while before all of the techniques, chord shapes and scales mentioned in this book are 'in your fingers'. I hope you enjoy studying some of these materials.

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Equipment

Essential gear You don't need a lot of stuff to play the guitar. This is a good general kit to have:

• an acoustic guitar • a guitar case • a spare set of strings • an electronic tuner • a capo • a few plectrums

Other gear available There are all kind of other guitar-related items you can buy:

• an electric guitar • a guitar strap • jack-to-jack leads • an amplifier • a guitar stand • a pickup • a glass or metal slide • an effects pedal (i.e. distortion, echo, reverb, compression etc) • a multi-effects pedal

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Basic guitar maintenance

Where to keep your guitar Ideally, keep your guitar in a closed case in a room that isn't too dusty, and make sure that it's not subject to big changes in temperature (e.g. next to a radiator), high humidity or excess vibration (e.g. on top of a washing machine). Checking your guitar's intonation The intonation on your guitar should be correct. That means that if you play an open E on the top string, then play a high E on the 12th fret of the top string, the pitch should be the same, but an octave higher. You can check this by ear, or with an electronic tuner. If your guitar's intonation is very bad, or if the action is drastically wrong, you may want to pay a technician to service your guitar - they are sometimes able to do things that are tricky to do at home: adjust the neck and bridge, and make sure all the frets are of an even level. Checking your guitar's action When people talk about the 'action' of a guitar, they are talking about the distance between the strings and the fretboard. If the action is too high, it can be difficult to fret notes easily (and can be very painful for your fingers); if the action is too low you may hear fret buzz. Some types of guitar allow you to alter the action by raising or lowering the bridge. Selecting the right strings Change the strings regularly. If your strings look dark and dirty and they sound dull, you should change them. Two types of strings are available: nylon, and steel. Make sure you put the right type of strings on your guitar. Putting steel strings on a nylon string classical guitar can cause permanent damage. Nylon strings do not work on steel-string guitars. Strings often come in different gauges. Thinner, lighter strings can be better when performing bends, but are less sturdy. Thicker strings may have more clarity and projection, and are less likely to break.

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How to hold the guitar

The standard sitting position

Study how master guitarist Django Reinhardt (above) held his guitar. The most important thing is to feel comfortable. This is often a matter of preference: some guitarists like to play sitting down, others like to stand up and use a guitar strap, some guitarists use a small foot stool to lift the guitar up a bit when sitting. Here are the main points for a good 'starting position' (for a right-handed guitarist):

• The body of the guitar usually rests on your right thigh. Classical players sometimes prefer to rest the guitar on the left thigh

• Your left wrist should be underneath the fretboard

• Your thumb should be pressed in the middle of the back of the fretboard

• Your body should be at roughly a 90 degree angle to the guitar

• Don't hunch your back too much

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How to tune the guitar

The standard guitar tuning E|------------------------------------------------0------- 1st string B|---------------------------------------0---------------- 2nd string G|-----------------------------0-------------------------- 3rd string D|---------------------0---------------------------------- 4th string A|------------0------------------------------------------- 5th string E|----0--------------------------------------------------- 6th string

Method

a) Use a pitchfork or something similar (e.g. a pitchpipe, electric tuner, electric piano or online pitchfork) to play the note E

b) Adjust the tuning head for the lowest, fattest string of the guitar so that the

pitch is identical to the pitch of the pitchfork

c) Play the 5th fret on the 6th string (the fattest one). Compare that pitch with the pitch of an open 5th string (i.e. play the string without holding down any frets). Adjust the 5th string until the pitches are the same.

d) Play the 5th fret on the 5th string. Compare that pitch with the pitch of an

open 4th string. Adjust the 4th string until the pitches are the same.

e) Play the 5th fret on the 4th string. Compare that pitch with the pitch of an open 3rd string. Adjust the 3rd string until the pitches are the same.

f) Play the 4th fret on the 3rd string. Compare that pitch with the pitch of an

open 2nd string. Adjust the 2nd string until the pitches are the same.

g) Play the 5th fret on the 2nd string. Compare that pitch with the pitch of an open 1st string. Adjust the 1st string until the pitches are the same.

Diagram E|----------------------------------------0--- B|--------------------------------0---5------- G|------------------------0---4--------------- D|----------------0---5----------------------- A|--------0---5------------------------------- E|----5--------------------------------------- A = A D = D G = G B = B E = E

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Alternate tunings

Dropped D tuning A great deal of guitar playing is done with standard tuning, but there are many other tunings for the guitar. One of the most common is the dropped D tuning in which the bottom E string is tuned down a tone to D.

E|------------------------------------------------0------- B|---------------------------------------0---------------- G|-----------------------------0-------------------------- D|---------------------0---------------------------------- A|------------0------------------------------------------- D|----0--------------------------------------------------- V 1 tone

Notes that are not usually playable on a standardly tuned guitar are shown in red. The dropped D tuning is useful because it allows you to form chords on the 4th, 5th and 6th strings with only one finger, and lower bass notes than standard tuning are possible (such as the D in red above). There are a number of variations on the dropped D tuning:

• Double dropped D tuning (DADGBD) • Dsus4 tuning (DADGAD) • Power chord tuning (DADADD)

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Open tunings When all the strings are strummed, all open tunings produce major chords. Here is an open D tuning: D |------------------------------------------------0------- V 1 tone A |---------------------------------------0---------------- V 1 tone F#|-----------------------------0-------------------------- V 0.5 tone D |---------------------0---------------------------------- A |------------0------------------------------------------- D |----0--------------------------------------------------- V 1 tone

Other open tunings are :

• Open G (DGDGBD) • Open E (EBEG#BE) • Open C (CGCGCE) • Open A (EAC#EAE)

New standard tuning King Crimson's Robert Fripp invented new standard tuning (CGDAEG). It's advantageous for players of other string instruments because it corresponds to the tunings of the cello (CGDA), the violin (GDAE) and the mandolin (GDAE). G |------------------------------------------------0------- ^ 1.5 tones E |---------------------------------------0---------------- ^ 2.5 tones A |-----------------------------0-------------------------- ^ 1 tone D |---------------------0---------------------------------- G |------------0------------------------------------------- V 1 tone C |----0--------------------------------------------------- V 2 tones

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How to read tablature

Example Here's what a typical piece of tablature looks like: | | | | | | | | | | | | |------------------|------------------|-0-----------0--2-|-3----------------| |-3-----------0--1-|-3----------------|-------1--3-------|------------------| |-------0--2-------|-------0-----0----|------------------|-------0-----0----| |------------------|------------------|------------------|------------------| |-------------0----|-2----------------|-3----------------|-2----------------| |-3----------------|------------------|------------------|------------------| |------------------|------------------|------------------|------------------| |-1-----3--1--0----|-0-----1--0-------|-------------0----|------------------| |----------------2-|-------------2--0-|-------0--2-----0-|-4p2--------------| |------------------|------------------|-4----------------|-0-----0----------| |-0----------------|------------------|-5-----2----------|----------3--2--0-| |------------------|-3----------------|-------------3----|------------------|

(J.S. Bach's Minuet in G major) How it works Each of the six lines represents a string. The top string (the E above B) is the thinnest string Each number respresents a fret. '0' means an 'open' string, when no fret is pressed down. E|-------------------------------- 1st string B|-------------------------------- 2nd string G|-------------------------------- 3rd string D|-------------------------------- 4th string A|-------------------------------- 5th string E|-------------------------------- 6th string Here's the fretboard of a guitar, with the bottom E at the bottom of the picture

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Guitar techniques

The hammer-on G A E|----3h5------------------------- B|-------------------------------- G|-------------------------------- D|-------------------------------- A|-------------------------------- E|-------------------------------- The letter 'h' indicates a hammer-on. To play the example above, fret the G with your index finger. Play the note. Then use your 3rd finger to 'hammer on' to the 5th fret. Hit the 5th fret fairly hard, vertically. You strike the string once with your right hand, but play two notes. The pull-off A G E|----5p3------------------------- B|-------------------------------- G|-------------------------------- D|-------------------------------- A|-------------------------------- E|-------------------------------- The letter 'p' indicates a pull-off. To play the example above, fret the A with your 3rd finger, whilst simultaneously holding down the G with your 1st finger. Play the A. Then pull off your 3rd finger - you should then hear the G sound. You strike the string once with your right hand, but play two notes.

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The slide A G G A E|----5\3------3/5---------------- B|-------------------------------- G|-------------------------------- D|-------------------------------- A|-------------------------------- E|-------------------------------- e.g. 1 e.g. 2 A backslash (/) is used to show a slide up, and a forward slash (\) is used to show a slide down. To play e.g. 1 above, sound the A, then slide your finger down (whilst keep the string pressed down) to the 3rd fret. You can slide up to notes, and down from notes. Harmonics E|----<12>------------------------ B|-------------------------------- G|-------------------------------- D|-------------------------------- A|-------------------------------- E|-------------------------------- The marks <> around a fret number indicate harmonics. To play the example above, place a finger, lightly, on the 12th fret (directly above the metal fret). Do not push the string down on to the fretboard, just rest your finger on the string. Pluck the 1st string with your right hand, and remove the finger on your left hand almost instantaneously. You should hear the clear, bell-like sound of the note E. Note that this type of harmonics (natural harmonics) only works on certain frets: the 5th, 7th, 9th, 12th, 17th and 19th.

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Bends A B B A E|-------------------------------- B|-------------------------------- G|-------------------------------- D|-----7b9-----------9r7---------- A|-------------------------------- E|-------------------------------- e.g. 1 (up) e.g. 2 (down) The letters b and r are used to indicate bends. To play e.g. 1 above, play the A. Keeping the note held down, bend the string across the fretboard until the pitch is raised to the sound of the 9th fret (i.e. a whole tone up, from an A to a B). While b means bend up, r means bend down. To play example 2, bend the 7th fret up a whole tone, but don't sound the string with your right hand yet. When the string is fully bent, pluck the string, then release the string gradually to its original position. Bends add a lot of colour and expression to guitar playing. They play a big part in creating the distinctive sounds of blues and country music. Some Indian classical musicians regard the guitar as a superior instrument to the piano because the piano is unable to perform bends, or play the 'notes between the notes' (or 'microtones'), which for Indian classical music is essential. Vibrato E E E|------v-------------~---------- B|------5-------------5----------- G|-------------------------------- D|-------------------------------- A|-------------------------------- E|-------------------------------- ex 1. ex 2. The symbols v or ~ are used to indicate vibrato. To play the examples above, play the E. As the note is sounding, rock the finger on the left hand back and forth, keeping the string held down. You can regulate how fast you rock the finger to create different effects. Vibrato is a technique often used in classical music; it's often utilised to highlight a certain note in a melody - to add a bit of drama.

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Trills | | | | | | | | D E|--------0-------|tr--------------| B|1---------------|3-------1-------| G|----------------|------------2---| D|----------------|----------------| A|3---------------|----------------| E|----------------|----------------| The lettters tr indicate a trill. Trills are often used in baroque and classical music. To play a trill, alternate the note shown with another note a semitone or a tone above. Play the notes very rapidly. The other note will generally be the next note in the given scale. The example above shows that the note D (3rd fret on the 2nd string) is a trill. The other note in this instance is E, one tone up and the next note in the scale of C. What you'd actually play would be more like the example below: | | | | | | | | C G7 E|--------0-------|----------------| B|1---------------|35353---1-------| G|----------------|------------2---| D|----------------|----------------| A|3---------------|----------------| E|----------------|----------------|

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Musical directions

Many pieces of written music have some sort of musical direction written above the first line. The composer might want to tell you how fast to play, when to slow down, how softly to play, or just give some information about the general feeling of the piece. Tempo Nowadays, due to the fact that a lot of music is recorded to click tracks, composers often have a very specific tempo in mind. They might indicate an exact tempo in bpm (beats per minute), i.e. "bpm = 132". Or they may use words in English and other languages - 'lively', 'slow' or 'andante'. Many instructions used, 'andante' included, are written in the Italian language (see the box below for Italian tempo instructions).

Common tempo instructions: GRAVE Very slow and solemn LARGO Very slow and dignified LENTO Very slow ADAGIO Very slow and expressive LARGHETTO Not as slow as largo, but slower than andante ANDANTE Walking tempo ANDANTINO A little quicker than andante MODERATO Moderate speed - not fast, nor slow ALLEGRETTO Light and cheerful, but not as fast as allegro ALLEGRO Merry, quick, lively, bright VIVO Lively, brisk VIVACE Vivacious, faster than allegro PRESTO Very quick, faster than vivace

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Changes in tempo Sometimes, a composer will tell you to speed up of slow down. Italian instructions can be seen in the box below.

Dynamics Composers often tell you how soft or loud to play using the Italian terms.

Common change of tempo instructions: ACCELERANDO (abbr: accel.) Increase the speed gradually STRINGENDO (abbr: string). Increase the tempo and intensity AFFRETTANDO Increase the speed gradually ALLARGANDO (abbr: allarg.) Play slower and louder RITARDANDO (abbr: Ritard. or Rit.) Gradually reducing the speed RALLENTANDO (abbr: Rall.) Slow down gradually RUBATO Literally means "robbed"- linger on some notes but hurry

through others; be free from strict tempo, but preserve the overall length of the bar

A TEMPO Return to original tempo after a Ritard. MOLTO Very much (e.g. molto rit. means slow down a lot) MENO Less (e.g. meno mosso means slower)

Common dynamics instructions: PIANISSIMO (abbr: pp). Very soft PIANO (abbr: p). Soft MEZZO PIANO (abbr: mp). Medium soft MEZZO FORTE (abbr: mf). Moderately loud FORTE (abbr: f). Loud FORTISSIMO (abbr: ff) Very loud DIMINUENDO (abbr: dim.) Gradually get softer CRESCENDO (abbr: cresc.) Gradually get louder

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Style Sometimes, composers give information about the general feel of the piece - whether it is supposed to be sombre or lively, smooth or jerky. Some Italian style instructions are shown below.

Common style instructions: AGITATO With agitation- excitedly ANIMATO With animation, in a spirited manner APPASSIONATO With intensity and depth of feeling BRILLANTE Bright, sparkling, brilliant BRIO With vigor CANTABILE In a singing style DOLCE Sweetly and softly GRANDIOSO In a noble, grand style LEGATO Smooth, connected and flowing MAESTOSO With majesty and grandeur SCHERZANDO Light hearted, joking STACCATO Short and detached, with distinct precision TENUTO Sustained for the full time-value TRANQUILLO Quietly and restfully

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Fingering

Occasionally, composers indicate which fingers to use on the left and right hands. Most of the time, it is left to the guitarist's discretion. The left hand For the left hand, numbers are used to indicate each finger: 1 = 1st (index) finger 2 = 2nd (middle) finger 3 = 3rd (ring) finger 4 = 4th (little) finger T = thumb (which is very rarely used to fret notes) The right hand For the right hand, letters (the initials of the Latin names for the fingers) are used: P = pulgar = thumb I = indio = 1st (index) finger M = medio = 2nd (middle) finger A = annular = 3rd (ring) finger C = chiquita = 4th (little) finger The little (C) finger is not used as often as the other fingers.

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An example of fingering 1 1 1 E|7-----7-----7----------- B|--0-----0-----0--------- G|----0-----0-----0------- D|------------------------ A|------------------------ E|0----------------------- A M I A M I A M I P (Spanish Romance) In the piece 'Spanish Romance' above, both the left and right hand fingering patterns are shown. The left hand only uses the index finger (1) on the seventh fret. The right hand uses the ring finger (A), then the middle finger (M), then the index finger (I). The bass note is sounded with the thumb (P) A general approach to fingering It's useful to note that the first 12 frets of the guitar can be covered by three left hand positions: use your 4 fingers to cover frets 1 to 4, then 5 to 8, then 9 to 12. 1 2 3 4 1 2 3 4 1 2 3 4 E|1---2---3---4---5---6---7---8---9---10--11--12-- B|------------------------------------------------ G|------------------------------------------------ D|------------------------------------------------ A|------------------------------------------------ E|------------------------------------------------

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What's bad fingering? Let's look at an example of bad left-hand fingering: 1 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 E|0---2-3-5-3-2-0-2---0-2-|0-----0---------------0-| B|------------------3-----|--2-3---3-2-0-2-3-2-3---| G|------------------------|------------------------| D|------------------0-----|------------------------| A|0-----------------------|0-------2---------------| E|------------------------|------------------------| (Dowland's Galliard by John Dowland, 1561-1626) If you play the melody above using mainly your index finger on your left hand (as indicated), you'll find that your hand lurches around the fretboard. It's difficult to play the melody smoothly or efficiently. This would be a much better way to finger it: 1 2 4 2 1 1 2 1 2 3 4 3 3 4 3 4 2 E|0---2-3-5-3-2-0-2---0-2-|0-----0---------------0-| B|------------------3-----|--2-3---3-2-0-2-3-2-3---| G|------------------------|------------------------| D|------------------0-----|------------------------| A|0-----------------------|0-------2---------------| E|------------------------|------------------------| By using all 4 fingers on the left hand, we are able to keep the hand relatively still. Remember that you should always be looking for a 'lazy' way to play the notes - a position in which your hand doesn't need to lurch around.

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The Circle of Fifths

How does it work? The circle of fifths helps you to understand the 24 major and minor keys used in music, key relationships, and many chord relationships. Fifths are musical intervals. The circle of 5ths is an arrangement of the 12 notes of the musical alphabet in a circle. Each note on the circle is a perfect fifth apart.

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At the top of the circle we begin on the note C. As you go clockwise around the circle, the notes move in perfect 5ths. A perfect fifth above C is G, and G is the next note on the circle going clockwise. A perfect fifth above G is D. D is next on the circle. Next, a perfect fifth above D is A, and so on. Clockwise, the circle moves through all 12 notes of the musical alphabet going in 5ths finally returning to C. What's the circle of fourths? Reversing the direction of the circle of fifths gives the circle of fourths. G is a fourth up from D; C is a fourth up from G and so on. In fact, the diagram should really be called the circle of fourths and fifths. How to remember which sharps and flats are in each key In order to remember which order that the sharps and flats of a key signature are written, there are several mnemonics that can help: The order of the sharps is Fat Cats Go Dancing At Ed's Bar From this you can say that if you know the key of E major has four sharps, the mnemonic shows which sharps they are (F,C,G,D). The mnemonic for flats is Boogie Ends And Down Go Cats Fast Relative minor keys You'll notice that each major key has a relative minor key written next to it, inside the circle. The relative minor shares the same key signature as the major key. For exmple, the key of G major has 1 sharp (F#), and the key of E minor also has 1 sharp (F#).

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The tritone The note directly opposite G is Db, which is the tritone. The tritone is often used in jazz music as a substitute for a dominant chord. For example, instead of playing this chord sequence: ||:Dm7 |G7 |Cmaj7 |Cmaj7 :|| You could substitute the G7 with Db7 (the tritone, found directly opposite G on the circle of fifths): ||:Dm7 |Db7 |Cmaj7 |Cmaj7 :||

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How to read chord diagrams

In the diagram below, the six vertical lines represent the six strings. The bottome E (the 6th string) is on the left. We're looking at the top 5 frets of the guitar.

• The black dots indicate where you should place your fingers

• The X above the bottom E string indicates that this string should not be played

• The O above the 5th and 1st strings indicate open strings should be played

• The letters underneath the diagram indicate the pitch of each individual note

The '1' written to the left of the top fret indicates that the top fret shown is the 1st fret. For some chords, the diagram may show another area of the fretboard, for example the 5th to the 9th frets:

Note the line at the top of the diagram - this indicates that 4 of the strings should be held down with only one finger (a barre).

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Chord names

Sometimes you can find songs written out with just the words and chord names. For example:

C Am I heard there was a secret chord C Am That David played and it pleased the lord F G C G But you don't really care for music, do you? (Hallelujah by Leonard Cohen) Chord notations Some chords can be notated in various ways. Here are some notations for common chords:

Chord type

Notation 1

Notation 2

Notation 3

Notation 4

Major C

CM C maj C major

Minor Cm C min C minor

Major seventh

CM7 C maj7 CΔ7

Diminished Cdim C˚

Minor 7 flat 5

Cm7b5 Cø

Chord charts Sometimes, only the chord chart will be provided, without any tablature or lyrics. Here's an example: ||B D7 |G Bb7 |Eb |Am D7 | |G Bb7 |Eb Gb7 |B |Fm Bb7 || (Giant Steps by John Coltrane)

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How to use the chord dictionary

First decide whether you want to voice the chord with the root note on the 6th, 5th or 4th string. For example, in order to play a Bmaj7 with the B root on the 5th string, look through the 5th string chords based on C roots. Find Cmaj7:

Now move the shape down one fret to make Bmaj7

You'll find that some chord types are more easily voiced using certain strings. Some notes on the chords listed How many chords is it possible to play on the guitar? This list is not exhaustive. There are literally thousands of voicings of chords that can be formed, and you could spend a lifetime learning them. However, the list below is a very good starting point. Some strings are not played... For certain chords, selected strings are not played (which is indicated by an X). Take care not to allow these strings to sound. You can prevent the string from sounding by resting a finger (that is already holding down another fret) against the side of the string. What's the difference between chords with roots on the 6th, 5th and 4th strings? 6th string chords enable you to play in the lower registers of the guitar, and also allow full-sounding 5 and 6 note voicings. Often, guitarists choose to omit the 5th string, for example the D on the 5th string in the bar chord Gmaj7. That's because the bottom four strings sounded together can sound muddy, with too many low

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frequencies. Anyhow, The D is already sounded elsewhere in the chord (on the 2nd string). 5th string chords can be used very effectively when combined with 6th string chords in a chord sequence. They too can have a rich, full sound. Country, folk, and flamenco music make extended use of 5th and 6th string chords. 4th string chords sound lighter and airier. They can be particularly useful when playing with a bassist - the bassist already provides low frequencies, and a guitarist who also adds many low notes can cause an excessively 'bassy' sound. Many jazz guitarists use chords based on 4th string root notes. Jazz players sometimes favour chord voicings that omit the root note altogether (a technique developed by jazz pianist Bill Evans). Does every chord sound different? Yes. Listen to the sound of each chord. Each chord has an 'emotional' quality. In general, major chords are sunny and joyful. Minor chords sound sad and sombre. Dominant 7 chords generally have a 'longing' feeling. Try playing a G7 chord followed by a C major chord. You'll find that the G7 sounds 'longing', then the C major feels like you've 'come home'. Extended chords such as G13 and G9 have a more complex character. Try replacing a G7 with a G13 and listen to how it sounds. Is there more than one way to voice each chord? Yes, each chord can be voiced in many many different ways. In the list below, you will see a number of different voicings for a maj7 chord, for example. What's a bar chord? A bar chord uses one finger to cover more than one string. All of the shapes below can be moved up and down the neck. For example, move the shape for F major up one fret - you're playing F# major. Move it up again - you're playing G major.

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Essential open chords

Major chords

Minor chords

Dominant 7 chords

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Essential bar chords

A bar chord uses one finger to cover more than one string. All of the shapes below can be moved up and down the neck. For example, move the shape for F major up one fret - you're playing F# major. Move it up again - you're playing G major. Major chords

Minor chords

Dominant 7 chords

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Chords with the root note on the 6th string

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The major scale

The major scale is extremely important in Western music. We often think of other scales in relation to the major scale. Underneath each scale in this text are the scale steps in comparison to the major scale. For example, you'll notice that the steps of the major scale are 1 2 3 4 5 6 7 C D E F G A B The dorian mode is notated as 1 2 b3 4 5 6 b7 C D Eb F G A Bb. This shows that it's the same as the major scale, but with a flattened 3rd and 7th.

Major scales follow this pattern of intervals: T T S T T T S T = 1 tone (2 frets on the guitar) S = 1 semitone (1 fret on the guitar) If you play the C major scale on one string, you can see the intervals between the notes clearly: E|--------------------------------|--------------------------------| B|1---3---5---6---8---10--12--13--|--------------------------------| G|--------------------------------|--------------------------------| D|--------------------------------|--------------------------------| A|--------------------------------|--------------------------------| E|--------------------------------|--------------------------------| C D E F G A B C T T S T T T S

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Major scale Also known as: Ionian mode Play C major over: C, Cmaj7, Cmaj9, C6 E|--------------------------2-3---|----------------------3-5-7-8---| B|----------------------3-5-------|----------------3-5-6-----------| G|----------------2-4-5-----------|----------2-4-5-----------------| D|----------2-4-5-----------------|----2-3-5-----------------------| A|----2-3-5-----------------------|3-5-----------------------------| E|3-5-----------------------------|--------------------------------| G major C major 1 2 3 4 5 6 7 Major scale (stretch positions)

E|----------------------------3---|------------------------5-7-8---| B|------------------------5-7-----|------------------5-6-8---------| G|------------------4-5-7---------|------------4-5-7---------------| D|------------4-5-7---------------|------3-5-7---------------------| A|------3-5-7---------------------|3-5-7---------------------------| E|3-5-7---------------------------|--------------------------------| G major (stretch fingering) C major (stretch fingering)

The major scale has an avoid note. When playing the C major scale over a C major chord, the 4th note, F, sounds dissonant. Here are common fingering patterns for the major scale:

These fingering patterns are also common. However, they are 'stretch' positions, requiring larger stretches with the left hand.

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Pentatonic scales

Major pentatonic scale Play C major pentatonic over: C, Cmaj7, Cmaj9, C6, C7, C9, C13, F, Fmaj7, Fmaj9, F6, Gm, Gm6, Gm7, Gm9, Gm11, G7sus, Gsus, G11, Dm, Dm6, Dm7, Dm9, Dm11, Em7b6, F/G, Dm7/G E|--------------------3-----------|----------------3-5-8-----------| B|----------------3-5-------------|------------3-5-----------------| G|------------2-4-----------------|--------2-5---------------------| D|--------2-5---------------------|----2-5-------------------------| A|----2-5-------------------------|3-5-----------------------------| E|3-5-----------------------------|--------------------------------| G major pentatonic C major pentatonic 1 2 3 5 6 Minor pentatonic scale Play C minor pentatonic over: Cm, Cm6, Cm7, Cm9, Cm11, E|--------------------3-----------|----------------3-6-8-----------| B|----------------3-6-------------|------------4-6-----------------| G|------------3-5-----------------|--------3-5---------------------| D|--------3-5---------------------|----3-5-------------------------| A|----3-5-------------------------|3-6-----------------------------| E|3-6-----------------------------|--------------------------------| G minor pentatonic C minor pentatonic 1 b3 4 5 b7

Pentatonic scales only have five notes. The great thing about the pentatonic scales below is that they have no avoid notes. You'll notice that the C major pentatonic scale doesn't have the 4th step of the major scale (F - which we've identified as sounding dissonant over a C major chord). Because there are no avoid notes, you can solo using pentatonic scales with confidence, knowing that you won't accidentally play a 'bum note'. No wonder they are so widely used.

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Blues scales

Minor blues scale Play C minor blues over: Cm, Cm7, Cm9, Cm11, E|------------------------3-------|--------------------3-6-8-------| B|--------------------3-6---------|--------------4-6-7-------------| G|--------------3-5-6-------------|----------3-5-------------------| D|----------3-5-------------------|----3-4-5-----------------------| A|----3-4-5-----------------------|3-6-----------------------------| E|3-6-----------------------------|--------------------------------| G minor blues C minor blues 1 b3 4 b5 5 b7 Major blues scale Play C major pentatonic over: C, Cmaj7, Cmaj9, C6, E|------------------------3-------|--------------------3-5-8-------| B|--------------------3-5---------|--------------3-4-5-------------| G|--------------2-3-4-------------|----------2-5-------------------| D|----------2-5-------------------|------2-5-----------------------| A|------2-5-----------------------|3-5-6---------------------------| E|3-5-6---------------------------|--------------------------------| G major blues C major blues 1 2 b3 3 5 6

Blues scales are similar to pentatonic scales but with an added blue (chromatic) note. The minor blues scale is the same as the minor pentatonic, but with an added b5. The major blues scale is the same as the major pentatonic scale, but with an added b3. Blue notes add colour to soloing, but remember that they are dissonant. It's fine to add dissonance to your playing, but players oftern prefer to place blue notes on off-beats.

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Minor scales

Natural minor scale Also known as: aeolian mode, melodic minor (descending) Play C natural minor over: Cm, Cm7, Cm9, Cm11

E|----------------------------3---|----------------------3-4-6-8---| B|----------------------3-4-6-----|----------------3-4-6-----------| G|----------------2-3-5-----------|------------3-5-----------------| D|------------3-5-----------------|------3-5-6---------------------| A|------3-5-6---------------------|3-5-6---------------------------| E|3-5-6---------------------------|--------------------------------| G natural minor (G Aeolian) C natural minor (C Aeolian) 1 2 b3 4 5 b6 b7 Harmonic minor scale Also known as: Mohammedan scale Play C harmonic minor over: Cm-maj7

E|--------------------------2-3---|----------------------3-4-7-8---| B|----------------------3-4-------|----------------3-4-6-----------| G|----------------2-3-5-----------|------------4-5-----------------| D|------------4-5-----------------|------3-5-6---------------------| A|------3-5-6---------------------|3-5-6---------------------------| E|3-5-6---------------------------|--------------------------------| G harmonic minor C harmonic minor 1 2 b3 4 5 b6 7

The natural minor scale is also known as the aolian mode (the 6th mode of the major scale). The pattern of intervals is T S T T S T T. You'll notice that the interval between the 7th step of the scale and the 1st step (i.e. Bb to C) is quite large: a whole tone.

The harmonic minor raises the 7th step of the natural minor scale. This provides a better 'leading note' back to the tonic. The gap between the the 6th and 7th steps is now very large (three semitones from Ab to B). This scale has a vaguely oriental feel to it (it's sometimes called the Mohammedan scale).

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Melodic minor scale Play C melodic minor over: C7alt, C7#9#5, C7#9

E|--------------------------2-3---|----------------------3-5-7-8---| B|----------------------3-5-------|----------------3-4-6-----------| G|----------------2-3-5-----------|----------2-4-5-----------------| D|----------2-4-5-----------------|------3-5-----------------------| A|------3-5-----------------------|3-5-6---------------------------| E|3-5-6---------------------------|--------------------------------| G melodic minor C melodic minor 1 2 b3 4 5 6 7

The melodic minor takes the harmonic minor and makes another change: the 6th step is raised. Now the interval between the 6th and 7th steps is only one tone (A to B). Note that the melodic minor is often used in conjunction with the natural minor: use the melodic minor when ascending, and the natural minor when descending.

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Modes of the major scale

Ionian mode Also known as: major scale Play C ionian over: C, Cmaj7, Cmaj9, C6,

E|--------------------------2-3---|----------------------3-5-7-8---| B|----------------------3-5-------|----------------3-5-6-----------| G|----------------2-4-5-----------|----------2-4-5-----------------| D|----------2-4-5-----------------|----2-3-5-----------------------| A|----2-3-5-----------------------|3-5-----------------------------| E|3-5-----------------------------|--------------------------------| G Ionian C Ionian 1 2 3 4 5 6 7

All the modes of the major scale use the same notes, but starting from different scale steps: Ionian (1st step): C D E F G A B Dorian (2ndstep) : D E F G A B C Phrygian (3rd step): E F G A B C D Lydian(4th step): F G A B C D E Mixolydian (5th step): G A B C D E F Aeolian (6th step): A B C D E F G Locrian (7th step): B C D E F G A

The ionian mode is better known as the major scale.

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Dorian mode Play C dorian over: Cm, Cm6, Cm7, Cm9, Cm11,

E|----------------------------3---|-----------------------3-5-6-8--| B|----------------------3-5-6-----|-----------------3-4-6----------| G|----------------2-3-5-----------|----------2-3-5-----------------| D|----------2-3-5-----------------|------3-5-----------------------| A|------3-5-----------------------|3-5-6---------------------------| E|3-5-6---------------------------|--------------------------------| G dorian C dorian 1 2 b3 4 5 6 b7 Phrygian mode Play C phrygian over: Cm7b9, Cphryg, C7susb9

E|----------------------------3---|---------------------3-4-6-8----| B|----------------------3-4-6-----|-----------------4-6------------| G|------------------3-5-----------|-----------3-5-6----------------| D|------------3-5-6---------------|------3-5-6---------------------| A|------3-5-6---------------------|3-4-6---------------------------| E|3-4-6---------------------------|--------------------------------| G phrygian C phrygian 1 b2 b3 4 5 b6 b7

The dorian mode is sometimes used as a replacement for a minor scale.

The phrygian mode has a minor 'Spanish' feel to it.

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Lydian mode Play C lydian over: C, Cmaj7, Cmaj9, C6, Cmaj7#11,

E|--------------------------2-3---|--------------------2-3-5-7-8---| B|--------------------2-3-5-------|----------------3-5-------------| G|----------------2-4-------------|----------2-4-5-----------------| D|----------2-4-5-----------------|----2-4-5-----------------------| A|----2-4-5-----------------------|3-5-----------------------------| E|3-5-----------------------------|--------------------------------| G lydian C lydian 1 2 3 #4 5 6 7 Mixolydian mode Play C mixolydian over: C, C7, C9, C13

E|----------------------------3---|----------------------3-5-6-8---| B|----------------------3-5-6-----|----------------3-5-6-----------| G|----------------2-4-5-----------|----------2-3-5-----------------| D|----------2-3-5-----------------|----2-3-5-----------------------| A|----2-3-5-----------------------|3-5-----------------------------| E|3-5-----------------------------|--------------------------------| G mixolydian C mixolydian 1 2 3 4 5 6 b7

The lydian mode is often used as an alternative to the major scale. The advantage of using the lydian mode is that it doesn't have the dissonant 4th step that the major scale has. It may sound strange at first, but it's a very useful scale.

The mixolydian scale is often used over dominant chords (e.g. C7, C9 etc).

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Aeolian mode Also known as: natural minor, melodic minor (descending) Play C aeolian over: Cm, Cm7, Cm9, Cm11

E|----------------------------3---|----------------------3-4-6-8---| B|----------------------3-4-6-----|----------------3-4-6-----------| G|----------------2-3-5-----------|------------3-5-----------------| D|------------3-5-----------------|------3-5-6---------------------| A|------3-5-6---------------------|3-5-6---------------------------| E|3-5-6---------------------------|--------------------------------| G Aeolian C Aeolian 1 2 b3 4 5 b6 b7 Locrian mode Play C locrian over: Cm7b5

E|----------------------------3---|------------------------4-6-8---| B|------------------------4-6-----|------------------4-6-7---------| G|------------------3-5-6---------|------------3-5-6---------------| D|------------3-5-6---------------|------3-4-6---------------------| A|------3-4-6---------------------|3-4-6---------------------------| E|3-4-6---------------------------|--------------------------------| G locrian C locrian 1 b2 b3 4 b5 b6 b7

The aeolian mode is also known as the natural minor scale.

The locrian mode contains a b2 and a b5, and has a very dissonant sound.

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Bebop scales

Bebop major scale Play C bebop major over: C, C6, Cmaj7, Cmaj9, Am, Am6, Am7, Am9, Am11, Am-maj7

E|------------------------------2-3|------------------------3-4-5-7-8| B|------------------------3-4-5----|------------------3-5-6----------| G|------------------2-4-5----------|------------2-4-5----------------| D|------------2-4-5----------------|----2-3-5-6----------------------| A|----2-3-5-6----------------------|3-5------------------------------| E|3-5------------------------------|---------------------------------| G bebop major C bebop major 1 2 3 4 5 #5 6 7 Bebop dorian scale Play C bebop dorian over: Cm, Cm7, Cm9, Cm11

E|--------------------------------3|--------------------------3-5-6-8| B|--------------------------3-5-6--|------------------3-4-5-6--------| G|------------------2-3-4-5--------|------------2-3-5----------------| D|------------2-3-5----------------|------2-3-5----------------------| A|------2-3-5----------------------|3-5-6----------------------------| E|3-5-6----------------------------|---------------------------------| G bebop dorian C bebop dorian 1 2 b3 3 4 5 6 b7

Bebop scales were popularised by jazz players of the bebop era such as Dizzy Gillespie and Charlie Parker. Bebop scales make use of chromatic passing notes.

The bebop major scale is the same as the major scale, with an added #5.

The bebop dorian scale is the same as the dorian mode, with an added 3.

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Bebop dominant scale Play C bebop dominant over: C, C7, C9, C13

E|------------------------------2-3|------------------------3-5-6-7-8| B|------------------------3-5-6----|------------------3-5-6----------| G|------------------2-4-5----------|----------2-3-4-5----------------| D|----------2-3-4-5----------------|----2-3-5------------------------| A|----2-3-5------------------------|3-5------------------------------| E|3-5------------------------------|---------------------------------| G bebop dominant C bebop dominant 1 2 3 4 5 6 b7 7

The bebop dominant scale is the same as the myxolydian mode, with an added 7.

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Diminished scales

Diminished scale (half-whole) Play C diminished H-W over: C7b9b5, C7b9 E|------------------------------1-3|------------------------2-3-5-6-8| B|------------------------2-3-5----|------------------2-4-5----------| G|------------------1-3-4----------|------------2-3-5----------------| D|------------2-3-5----------------|------2-4-5----------------------| A|------2-4-5----------------------|3-4-6----------------------------| E|3-4-6----------------------------|---------------------------------| G diminished H-W C diminished H-W 1 b2 b3 3 b5 5 6 b7 Diminished scale (whole-half) Play C diminished W-H over: Cdim7 E|------------------------------2-3|------------------------2-4-5-7-8| B|------------------------2-4-5----|------------------3-4-6----------| G|------------------2-3-5----------|------------2-4-5----------------| D|------------2-4-5----------------|------3-4-6----------------------| A|------3-4-6----------------------|3-5-6----------------------------| E|3-5-6----------------------------|---------------------------------| G diminished W-H C diminished W-H 1 2 b3 4 b5 b6 6 7

Diminished scales are octatonic (eight-note) scales. They are formed by alternating whole tone and semitone intervals. The whole-half diminished scale is commonly used over diminished chords. The half-whole diminished scale tends to be used over dominant chords such as C7b9.

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Modes of the melodic minor

Melodic minor scale Play C melodic minor over: Cm, Cm6, Cm-maj7, G7alt, G7#9#5, G7#9, G7b9b5, G7b9 E|--------------------------2-3---|----------------------3-5-7-8---| B|----------------------3-5-------|----------------3-4-6-----------| G|----------------2-3-5-----------|----------2-4-5-----------------| D|----------2-4-5-----------------|------3-5-----------------------| A|------3-5-----------------------|3-5-6---------------------------| E|3-5-6---------------------------|--------------------------------| G melodic minor C melodic minor 1 2 b3 4 5 6 7 Dorian b2 mode Play C dorian b2 over: Cb9sus4 E|----------------------------3---|-----------------------3-5-6-8--| B|----------------------3-5-6-----|-----------------2-4-6----------| G|----------------1-3-5-----------|----------2-3-5-----------------| D|----------2-3-5-----------------|------3-5-----------------------| A|------3-5-----------------------|3-4-6---------------------------| E|3-4-6---------------------------|--------------------------------| G dorian b2 C dorian b2 1 b2 b3 4 5 6 b7

Like the major scale, modes can be formed from the melodic minor scale. The scales that are produced create interesting sounds, and can be used when soloing.

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Lydian #5 mode Also known as: lydian augmented Play C lydian #5 over: Cmaj7#5 E|--------------------------2-3---|--------------------2-4-5-7-8---| B|--------------------2-4-5-------|----------------3-5-------------| G|----------------2-4-------------|----------2-4-5-----------------| D|----------2-4-5-----------------|----2-4-6-----------------------| A|----2-4-6-----------------------|3-5-----------------------------| E|3-5-----------------------------|--------------------------------| G lydian #5 C lydian #5 1 2 3 #4 #5 6 7 Lydian dominant mode Also known as: lydian b7, overtone scale / Play C mixolyidian b6 over: C7, C7#11 E|--------------------------1-3---|--------------------2-3-5-6-8---| B|--------------------2-3-5-------|----------------3-5-------------| G|----------------2-4-------------|----------2-3-5-----------------| D|----------2-3-5-----------------|----2-4-5-----------------------| A|----2-4-5-----------------------|3-5-----------------------------| E|3-5-----------------------------|--------------------------------| G lydian dominant C lydian dominant 1 2 3 #4 5 6 b7 Mixolydian b6 mode Also known as: mixolydian b13, hindu scale / Play C mixolydian over: C7b13 E|----------------------------3---|----------------------3-4-6-8---| B|----------------------3-4-6-----|----------------3-5-6-----------| G|----------------2-4-5-----------|----------1-3-5-----------------| D|----------1-3-5-----------------|----2-3-5-----------------------| A|----2-3-5-----------------------|3-5-----------------------------| E|3-5-----------------------------|--------------------------------| G mixolydian b6 C mixolydian b6 1 2 3 4 5 b6 b7

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Aeolian b5 mode Also known as: locrian #2 scale / Play C aeolian b5 over: Cm7b5 E|----------------------------3---|----------------------2-4-6-8---| B|----------------------2-4-6-----|----------------3-4-6-----------| G|----------------2-3-5-----------|------------3-5-----------------| D|------------3-5-----------------|------3-4-6---------------------| A|------3-4-6---------------------|3-5-6---------------------------| E|3-5-6---------------------------|--------------------------------| G Aeolian b5 C Aeolian b5 1 2 b3 4 b5 b6 b7 Altered scale Also known as: super locrian, locrian b4, diminished whole tone Play C altered over: C7alt, C7#9#5, C7#9 E|----------------------------3---|------------------------4-6-8---| B|------------------------4-6-----|------------------4-5-7---------| G|------------------3-4-6---------|------------3-5-6---------------| D|------------3-5-6---------------|------2-4-6---------------------| A|------2-4-6---------------------|3-4-6---------------------------| E|3-4-6---------------------------|--------------------------------| G altered C altered 1 b2 b3 b4 b5 b6 b7

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Other interesting scales

In sen scale Play C in sen over: C#maj7#11, Bbm, Bbm6, C phryg

E|--------------------3-----------|----------------3-6-8-----------| B|----------------3-6-------------|--------------6-----------------| G|--------------5-----------------|--------3-5-6-------------------| D|--------3-5-6-------------------|----3-5-------------------------| A|----3-5-------------------------|3-4-----------------------------| E|3-4-----------------------------|--------------------------------| G in sen C in sen 1 b2 4 5 b7 Arabian scale E|------------------------------2-3|------------------------2-4-5-7-8| B|------------------------2-4-5----|------------------3-4-6----------| G|------------------2-3-5----------|------------2-4-5----------------| D|------------2-4-5----------------|------3-4-6----------------------| A|------3-4-6----------------------|3-5-6----------------------------| E|3-5-6----------------------------|---------------------------------| G Arabian C Arabian 1 2 b3 4 #4 #5 6 7

There's more to life than Western diatonic harmony. Other musical traditions employ hundreds of different scales. Exploring Arabic, Chinese, Japanese, Indian and Gypsy scales can help you to create unusual sounds and textures.

Some pentatonic scales in the Japanese musical tradition function differently: the tonic is in the middle of the scale, with two other notes on either side. However, the in sen scale below functions like all Western scales, with the tonic as the first note.

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Chinese scale E|------------------2-3-----------|--------------2-3-7-8-----------| B|--------------2-3---------------|------------5-------------------| G|------------4-------------------|--------4-5---------------------| D|--------4-5---------------------|--2-4-5-------------------------| A|--2-4-5-------------------------|3-------------------------------| E|3-------------------------------|--------------------------------| G Chinese C Chinese 1 3 #4 5 7 Hindu scale

E|----------------------------3---|----------------------3-4-6-8---| B|----------------------3-4-6-----|----------------3-5-6-----------| G|----------------2-4-5-----------|------------3-5-----------------| D|------------3-5-----------------|----2-3-5-6---------------------| A|----2-3-5-6---------------------|3-5-----------------------------| E|3-5-----------------------------|--------------------------------| G hindu C hindu 1 2 3 4 5 b6 b7 Hungarian gypsy scale E|----------------------------3---|----------------------3-4-7-8---| B|----------------------3-4-7-----|------------------4-7-----------| G|------------------3-6-----------|------------4-5-7---------------| D|------------4-5-7---------------|------4-5-6---------------------| A|------4-5-6---------------------|3-5-6---------------------------| E|3-5-6---------------------------|--------------------------------| G hungarian gypsy C hungarian gypsy 1 2 b3 #4 5 b6 7

The Indian classical music tradition uses hundreds of different ragas. A raga is similar to a Western scale, but differs in some ways: different notes may be used when ascending and descending the scale (as in the melodic minor), and each note has a 'shruti' (a way of approaching the note - bending up to it, for example). Furthermore, complex rules are sometimes applied to soloists (who may play an entire piece using only one raga). For example, the soloist may be instructed not to play the 5th step of the scale until the 3rd step has been played twice.

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Jewish Ahaba Rabba scale E|----------------------------3---|----------------------3-4-6-8---| B|----------------------3-4-6-----|------------------5-6-----------| G|------------------4-5-----------|------------3-5-6---------------| D|------------3-5-6---------------|----2-3-5-6---------------------| A|----2-3-5-6---------------------|3-4-----------------------------| E|3-4-----------------------------|--------------------------------| G Jewish ahaba rabba C Jewish ahaba rabba 1 b2 3 4 5 b6 b7 Persian scale E|--------------------------2-3---|----------------------2-4-7-8---| B|----------------------2-4-------|----------------2-5-6-----------| G|----------------1-4-5-----------|----------1-4-5-----------------| D|----------1-4-5-----------------|----2-3-4-----------------------| A|----2-3-4-----------------------|3-4-----------------------------| E|3-4-----------------------------|--------------------------------| G Persian C Persian 1 b2 3 4 b5 b6 7

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