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Intervals
Harmony
Chords and Scales
Workbook
Introduction
In writing this book I was able to make many discoveries for myself both in methods of teaching
and basic use of music theory.
In every discipline it is never a waste of time to review the basics.
I begin this book with the basics of Chords and Scales and progress through their uses in various
music styles from Country to Blues to Rock to Jazz.
The only difference from a theoretical standpoint is often very subtle and is more about leaving out
rather than putting in.
I start with the most basic of building blocks. Intervals.
Understanding intervals and being able to hear the intervals is an absolute must to progress in m
Music.
Chapter 1
Intervals
The basic building blocks of all music are called Intervals.
Intervals are the distance between notes.
When I say Distance I am referring to the change in pitch from one note to the next.
Take a low note. Sing to your self a note in a deep voice.
Now sing a high note.
Between the two notes is the distance I am referring to.
There is an interval between the two notes.
Some pairs of notes are very close together and other pairs are far apart such as the example above.
An interval is between two notes.
.
So an example would be A = 1 E = 5 or a Interval of 5 also known as a 5th.
Intervals come in different qualities and size. If the notes are sounded successively, it is a melodic
interval. If sounded simultaneously, then it is a harmonic interval.
To visualize the distance of notes, picture keys on a piano.
Each interval is created by a series of half steps and whole steps.
The graphic above shows on a piano the difference between a half step
And whole step.
On a guitar the difference looks like this:
Half Step – One Fret Distance Whole Step – Two Fret Distance
Here is a listing of the intervals for one octave.
Pay special attention to the physical relationship between the notes.
The same relationships are all over the Fretboard.
What I mean by this is that you can slide these diagrams up the Fretboard and also
up to the next string (except for that darn B String, where some of the positions change a half fret).
Unison – Same Note
Minor 2
nd
1 Half Step
Major 2
nd
1 Whole Step
Minor 3
rd
3 Half Steps
Major 3
rd
4 Half Steps
4th
5 Half Steps
Diminshed
5
th
6 Half Steps
5
th
7 Half Steps
Minor 6
th
8 Half Steps
Major 6
th
9 Half Steps
Minor 7th
10 Half Steps
Major 7th
11 Half Steps
Octave
12 Half Steps
These are the first 12 Tones.
Again you can start anywhere on the E or A string and the pattern is the same.
This is a key principle in understanding the marvelous practical layout of the
guitar.
It was in fact a perfect system…until…. Someone decided that the
2
nd
String should be B.
If you notice starting at the Thickest string E the next 3 strings A D G
Are each a 4
th
apart (5 half steps). That is why when you tune the guitar you
press Down the 5
th
Fret.
But the B string is only a 3
rd
up from the G string.
This changes all the intervals 1 Fret. We Will discuss this more in chapter 2.
All of the Notes in the Key of C Major
Color explanation: Each Octave gets lighter.
Low C = Red / Middle C = Orange / High C = Yellow.
Other notes in scale: first Octave Green / Second Octave Light Blue
Note the Blue section. If you take C on the E string 8
th
Fret as the 1 or
root and apply the Intervals:
Major 2nd (D)
Major 3rd (E)
Fourth (F)
Fifth (G)
Major 6th (A)
Major 7th (B)
Octave (C)
You have the Major scale.
Find the C on the A string at the 3
rd
fret. Circled in RED
You see the same exact pattern!
Now find the C on the B string 1
st
fret Circled in YELLOW
You see the same exact pattern!
It is important that you see these reoccurring patterns all over the
guitar – they are important roadmaps for your playing and creativity.
We’ll start with the basics, and right after that I’ll show you a couple
of really powerful exercises that will help put it all together for you.
So, first, let’s look at all the repeating ways we can play the same
intervals on the Guitar. I’ll use the Key of C major to show you the
detailed information, and then also spell out the same interval
relationships for all of the remaining C-A-G-E-D Keys of A, G, E, and D.
Major 2
nd
Intervals in the Key of C (Notes C to D)
E|------|-----|
B|------|-----| This example shows two ways to play a major
G|------|-----| 2
nd
Interval from the Root C on the sixth string
D|------|-----| (Low E String).
A|------|---5-|
E|-8-10-|-8---|
E|-----|-----|
B|-----|-----| Two ways to play a Major 2
nd
from root C on the
G|-----|-----| fifth string (A String).
D|-----|---0-|
A|-3-5-|-3---|
E|-----|-----|
E|-------|------|
B|-------|------| Two ways to play Major 2
nd
from root C on fourth
G|-------|----7-| string (D String).
D|-10-12-|-10---|
A|-------|------|
E|-------|------|
E|-----|-----|
B|-----|---3-| Two ways to play Major 2
nd
from root C on third
G|-5-7-|-5---| string (G string).
D|-----|-----|
A|-----|-----|
E|-----|-----|
E|-----|
B|-1-3-| One way to play Major 2
nd
from root C on second
G|-----| string (B String).
D|-----|
A|-----|
E|-----|
E|-8-10-|
B|------| One way to play major 2
nd
from root C on first
G|------| string (High E String).
D|------|
A|------|
E|------|
Here are the Major 2
nd
Intervals in the Key of A (Notes A to B):
E|--------|--------|--------|--------|--------|--------|----------- |--------
B|--------|--------|--------|--------|--------|-----0--|----------- |-----0--
G|--------|--------|--------|--------|-----4--|--------|-----2--4--|--2-----
D|--------|--------|--------|--7--9--|--7-----|--7-----|----------- |--------
A|--------|-----2--|--0--2--|--------|--------|--------|-----------|--------
E|--5--7--|--5-----|--------|--------|--------|--------|----------- |--------
E|----------|------7--|--5--7--
B|--10--12--|--10-----|--------
G|----------|---------|--------
D|----------|---------|--------
A|----------|---------|--------
E|----------|---------|--------
Major 2
nd
Intervals in the Key of G (Notes G to A)
E|-----|-----|-------|------|-----|-----|-------|-------|------|---5-|-3-5-|
B|-----|-----|-------|------|-----|-----|-------|----10-|-8-10-|-8---|-----|
G|-----|-----|-------|------|-0-2-|-0---|-12-14-|-12----|------|-----|-----|
D|-----|-----|-------|----7-|-----|---7-|-------|-------|------|-----|-----|
A|-----|---0-|-10-12-|-10---|-----|-----|-------|-------|------|-----|-----|
E|-3-5-|-3---|-------|------|-----|-----|-------|-------|------|-----|-----|
Major 2
nd
Intervals for the Key of E (Notes E to F#)
E|-----|-------|------|-----|-----|-----|-------|--------|-----|---2-|-0-2-|
B|-----|-------|------|-----|-----|-----|-------|--------|-5-7-|-5---|-----|
G|-----|-------|------|-----|-----|-----|----11-|---9-11-|-----|-----|-----|
D|-----|-------|------|-----|---4-|-2-4-|-14----|--------|-----|-----|-----|
A|-----|-------|----9-|-7-9-|-7---|-----|-------|--------|-----|-----|-----|
E|-0-2-|-12-14-|-12---|-----|-----|-----|-------|--------|-----|-----|-----|
Major 2
nd
Intervals in the Key of D (Notes D to E)
E|------- |------|-----|-----|-----|-------|------|----0-|-----|-----|---0-|-----|
B|------- |------|-----|-----|-----|-------|------|------|-----|---5-|-----|-3-5-|
G|------- |------|-----|-----|-----|-------|----9-|------|-7-9-|-7---|-7---|-----|
D|------- |------|-----|---2-|-0-2-|-12-14-|-12---|-12---|-----|-----|-----|-----|
A|------- |----7-|-5-7-|-5---|-----|-------|------|------|-----|-----|-----|-----|
E|-10-12-|-10---|-----|-----|-----|-------|------|------|-----|-----|-----|-----|
E|---0-|-10-12-| (Major 2
nd
Intervals in D - Continued)
B|-3---|------- |
G|-----|------- |
D|-----|------- |
A|-----|------- |
E|-----|------- |
Major 3
rd
Intervals in the Key of C (Notes C-E)
E|------|-----|
B|------|-----| Two ways to play Major 3
rd
interval from root C
G|------|-----| on sixth string (Low E String).
D|------|-----|
A|------|---7-|
E|-8-12-|-8---|
E|-----|-----|
B|-----|-----| Two ways to play Major 3
rd
interval from root C
G|-----|-----| on fifth string (A String).
D|-----|---2-|
A|-3-7-|-3---|
E|-----|-----|
E|-------|------|
B|-------|------| Two ways to play Major 3
rd
interval from root C
G|-------|----9-| on fourth string (D String).
D|-10-14-|-10---|
A|-------|------|
E|-------|------|
E|-----|-----|---0-|
B|-----|---5-|-----| Three ways to play Major 3
rd
interval from
G|-5-9-|-5---|-5---| Root C on third string (G String).
D|-----|-----|-----|
A|-----|-----|-----|
E|-----|-----|-----|
E|-----|---0-|
B|-1-5-|-1---| Two ways to play Major 3
rd
interval from root C
G|-----|-----| on second string (B String).
D|-----|-----|
A|-----|-----|
E|-----|-----|
E|-8-12-|
B|------| One way to play Major 3
rd
interval from root C on
G|------| first string (High E String).
D|------|
A|------|
E|------|
Here are the Major 3
rd
Intervals in the Key of A (Notes A to C#):
E|-----|-----|-----|-------|------|-----|-----|-----|-------|------9-|
B|-----|-----|-----|-------|------|-----|-----|---2-|-10-14-|-10-----|
G|-----|-----|-----|-------|------|---6-|-2-6-|-2---|-------|--------|
D|-----|-----|-----|----11-|-7-11-|-7---|-----|-----|-------|--------|
A|-----|---4-|-0-4-|-12----|------|-----|-----|-----|-------|--------|
E|-5-9-|-5---|-----|-------|------|-----|-----|-----|-------|--------|
Major 3
rd
Intervals in the Key of G (Notes G to B):
E|-----|-----|-------|------|------|-----|-----|------|---7-|-3-7-|
B|-----|-----|-------|------|----0-|-----|---0-|-8-12-|-8---|-----|
G|-----|-----|-------|------|------|-0-4-|-0---|------|-----|-----|
D|-----|-----|-------|----9-|------|-----|-----|------|-----|-----|
A|-----|---2-|-10-14-|-10---|-10---|-----|-----|------|-----|-----|
E|-3-7-|-3---|-------|------|------|-----|-----|------|-----|-----|
Major 3
rd
Intervals in the Key of E (Notes E to G#):
E|-----|------|-----|-----|-----|------|---4-|-0---|
B|-----|------|-----|-----|---9-|------|-5---|---9-|
G|-----|------|-----|---1-|-9---|-9-13-|-----|-----|
D|-----|------|---6-|-2---|-----|------|-----|-----|
A|-----|-7-11-|-7---|-----|-----|------|-----|-----|
E|-0-4-|------|-----|-----|-----|------|-----|-----|
Major 3
rd
Intervals in the Key of D (Notes D to F#):
E|-------|------|-----|-----|-----|-------|------|-----|-----|---2-|
B|-------|------|-----|-----|-----|-------|------|---7-|-3-7-|-3---|
G|-------|------|-----|-----|-----|----11-|-7-11-|-7---|-----|-----|
D|-------|------|-----|---4-|-0-4-|-12----|------|-----|-----|-----|
A|-------|----9-|-5-9-|-5---|-----|-------|------|-----|-----|-----|
E|-10-14-|-10---|-----|-----|-----|-------|------|-----|-----|-----|
Perfect Fourth Intervals in the Key of C (Notes C-F)
E|-----|
B|-----| One way to play Perfect 4
th
interval from root C on
G|-----| sixth string (Low E String).
D|-----|
A|---8-|
E|-8---|
E|-----|
B|-----| One way to play Perfect 4
th
interval from root C on
G|-----| fifth string (A String).
D|---3-|
A|-3---|
E|-----|
E|-------|
B|-------| One way to play Perfect 4
th
interval from root C on
G|----10-| fourth string (D String).
D|-10----|
A|-------|
E|-------|
E|-----|---1-|
B|---6-|-----| Two ways to play Perfect 4
th
interval from root C
G|-5---|-5---| third string (G String).
D|-----|-----|
A|-----|-----|
E|-----|-----|
E|---1-|
B|-1---| One way to play Perfect 4
th
interval from root C on
G|-----| second string (B String).
D|-----|
A|-----|
E|-----|
Here are the Perfect Fourth Intervals in the Key of A (Notes A-D):
E|-----|-----|-----|-------|-----|-----|----10-|
B|-----|-----|-----|-------|-----|---3-|-10----|
G|-----|-----|-----|-------|---7-|-2---|-------|
D|-----|---0-|---0-|----12-|-7---|-----|-------|
A|---5-|-----|-0---|-12----|-----|-----|-------|
E|-5---|-5---|-----|-------|-----|-----|-------|
Perfect Fourth Intervals in the Key of G (Notes G-C):
E|-----|-------|-----|--------|-----|-----|---8-|
B|-----|-------|-----|--------|-----|---1-|-8---|
G|-----|-------|---5-|-0------|-0-5-|-0---|-----|
D|-----|----10-|-5---|-----10-|-----|-----|-----|
A|---3-|-10----|-----|--------|-----|-----|-----|
E|-3---|-------|-----|--------|-----|-----|-----|
Perfect Fourth Intervals in the Key of E (Notes E-A):
E|-----|-----|-------|-----|-----|------|---5-|---5-|-0----|-0-5-
B|-----|-----|-------|-----|-----|---10-|-----|-5---|---10-|-----
G|-----|-----|-------|-----|---2-|-9----|-9---|-----|------|-----
D|-----|-----|-------|---7-|-2---|------|-----|-----|------|-----
A|-----|---0-|----12-|-7---|-----|------|-----|-----|------|-----
E|-0-5-|-0---|-12----|-----|-----|------|-----|-----|------|-----
Perfect Fourth Intervals in the Key of D (Notes D-G):
E|-------|------|-----|-----|-----|-----|-----|---3-|---3-|
B|-------|------|-----|-----|-----|-----|---8-|-----|-3---|
G|-------|----0-|-----|---0-|---0-|-----|-7---|-7---|-----|
D|-------|------|---5-|-----|-0---|-0-5-|-----|-----|-----|
A|----10-|------|-5---|-5---|-----|-----|-----|-----|-----|
E|-10----|-10---|-----|-----|-----|-----|-----|-----|-----|
Perfect Fifth Intervals in the Key of C (Notes C-G)
E|---------|--------|--------|
B|---------|--------|--------| Three ways to play Perfect 5th
G|---------|--------|-----0--| interval from root C on sixth
D|---------|-----5--|--------| string (Low E String).
A|-----10--|--------|--------|
E|--8------|--8-----|--8-----|
E|--------|--------|
B|--------|--------| Two ways to play Perfect 5
th
interval from
G|--------|-----0--| root C on fifth string (A String).
D|-----5--|--------|
A|--3-----|--3-----|
E|--------|--------|
E|----------|---------|
B|----------|------8--| Two ways to play Perfect 5
th
interval
G|------12--|---------| from root C on fourth string
D|--10------|--10-----| (D String).
A|----------|---------|
E|----------|---------|
E|--------|-----3--|
B|-----8--|--------| Two ways to play Perfect 5
th
interval
G|--5-----|--5-----| from root C on third string (G String).
D|--------|--------|
A|--------|--------|
E|--------|--------|
E|-----3--|
B|--1-----| One way to play Perfect 5
th
interval from
G|--------| Root C on second string (B String).
D|--------|
A|--------|
E|--------|
Here are the Perfect Fifth Intervals in the Key of A (Notes A-E):
E|-----|-----|-----|-------|------|----0-|-----|-----|---0-|-----|---0-|----12-|
B|-----|-----|-----|-------|------|------|-----|---5-|-----|---5-|-----|-10----|
G|-----|-----|-----|-------|----9-|------|---9-|-----|-----|-2---|-2---|------- |
D|-----|---2-|---2-|----14-|------|------|-7---|-7---|-7---|-----|-----|------- |
A|---7-|-----|-0---|-12----|-12---|-12---|-----|-----|-----|-----|-----|------- |
E|-5---|-5---|-----|-------|------|------|-----|-----|-----|-----|-----|------- |
Perfect Fifth Intervals in the Key of G (Notes G-D):
E|-------- |-------- |---------- |--------- |-------- |------- -|-------- |-------- |--------- |
B|-------- |-------- |---------- |--------- |-------- |-----3--|-----3--|-------- |--------- |
G|-------- |-------- |---------- |--------- |-----7--|--------|--0-----|--0--7--|--0------|
D|-------- |-----0--|------12--|------7--|--5-----|--5-----|-------- |--------|-----12--|
A|-----5--|-------- |--10------|--10-----|-------- |------- -|-------- |-------- |--------- |
E|--3-----|--3-----|---------- |--------- |-------- |--------|--------|-------- |--------- |
E|-----10--|
B|--8------|
G|---------|
D|---------|
A|---------|
E|---------|
Perfect Fifth Intervals in the Key of E (Notes E-B):
E|--------|--------|--------|--------|--------|--------|--------|---------|
B|--------|--------|--------|--------|-----0--|--------|-----0--|-----12--|
G|--------|--------|--------|-----4--|--------|-----4--|--------|--9------|
D|--------|--------|-----9--|--------|--------|--2-----|--1-----|---------|
A|--------|-----2--|--7-----|--7-----|--7-----|--------|--------|---------|
E|--0--7--|--0-----|--------|--------|--------|--------|--------|---------|
5
th
’s in Key of E Continued
E|--0--7--|--0------|
B|--------|-----12--|
G|--------|---------|
D|--------|---------|
A|--------|---------|
E|--------|---------|
Perfect Fifth Intervals in the Key of D (Notes D-A):
E|---------- |---------|-------- |-------- |-------- |--------|--------- |--------- |
B|---------- |--------- |-------- |-------- |-------- |--------|--------- |-----10--|
G|---------- |--------- |-------- |-----2--|-----2--|--------|--------- |--7------|
D|---------- |------7--|-----7--|-------- |--0-----|--0--7--|--0------|--------- |
A|------12--|--------- |--5-----|--5-----|-------- |--------|-----12--|--------- |
E|--10------|--10-----|-------- |-------- |-------- |--------|--------- |--------- |
E|-----5--|-----5--|
B|--------|--3-----|
G|--7-----|--------|
D|--------|--------|
A|--------|--------|
E|--------|--------|
Major Sixth Intervals in the Key of C (C-A)
E|---------|--------|
B|---------|--------| Two ways to play Major 6
th
interval from
G|---------|--------| root C on sixth string (Low E String).
D|---------|-----7--|
A|-----12--|--------|
E|--8------|--8-----|
E|--------|--------|
B|--------|--------| Two ways to play Major sixth interval from
G|--------|-----2--| root C on fifth string (A String).
D|-----7--|--------|
A|--3-----|--3-----|
E|--------|--------|
E|----------|----------|
B|----------|------10--| Two ways to play Major sixth interval
G|------14--|----------| root C on third string (D String).
D|--10------|--10------|
A|----------|----------|
E|----------|----------|
E|-----5--|---------|
B|--------|-----10--| Two ways to play Major sixth interval
G|--5-----|--5------| from root C on third string (G String).
D|--------|---------|
A|--------|---------|
E|--------|---------|
E|-----5--|
B|--1-----| One way to play Major sixth interval from root C
G|--------| on second string (B String).
D|--------|
A|--------|
E|--------|
Here are the Major Sixth Intervals in the Key of A (Notes A-F#):
E|-------- |-------- |-------- |-------- |------ ---|--------|----- 2--|------ 14-
B|-------- |-------- |-------- |-------- |------ ---|----- 7--|-------- |--10-----
G|-------- |-------- |-------- |-------- |-----11--|-------- |--2----- |---------
D|-------- |-----4--|----- 4--|-------- |--7------|--7-----|-------- |---------
A|-----9--|-------- |--0-----|--0--9--|------ ---|-------- |-------- |---------
E|--5----- |--5----- |-------- |-------- |------ ---|-------- |-------- |---------
Major Sixth Intervals in the Key of G (Notes G-E):
E|-------- |-------- |---------- |--------- |------0--|--------|--------|-----0--|-----0--|
B|-------- |-------- |---------- |--------- |--------- |-------- |-----5--|-------- |-------- |
G|-------- |-------- |---------- |------9--|--------- |-----9--|--------|-------- |--0-----|
D|-------- |-----2--|------14--|--------- |---------|--5-----|--5-----|--5-----|-------- |
A|-----7--|-------- |--10------|--10-----|--10-----|--------|--------|-------- |-------- |
E|--3-----|--3-----|---------- |--------- |--------- |--------|--------|-------- |-------- |
E|--------|-----12--|
B|--------|--8------|
G|--0--9--|---------|
D|--------|---------|
A|--------|---------|
E|--------|---------|
Major Sixth Intervals in the Key of E (Notes E-C#):
E|--------|--------|---------|--------|--------|-----9--|-----9--|
B|--------|--------|---------|--------|-----2--|--------|--5-----|
G|--------|--------|---------|-----6--|--------|--9-----|--------|
D|--------|--------|-----11--|--------|--2-----|--------|--------|
A|--------|-----4--|--7------|--7-----|--------|--------|--------|
E|--0--9--|--0-----|---------|--------|--------|--------|--------|
Major Sixth Intervals in the Key of D (Notes D-B):
E|----------|---------|---------|--------|--------|--------|--------|--------|
B|----------|---------|------0--|--------|--------|-----0--|--------|--------|
G|----------|---------|---------|--------|-----4--|--------|--------|-----4--|
D|----------|------9--|---------|-----9--|--------|--------|--0--9--|--0-----|
A|------14--|---------|---------|--5-----|--5-----|--5-----|--------|--------|
E|--10------|--10-----|--10-----|--------|--------|--------|--------|--------|
E|--------|-----7--|-----7--|
B|-----0--|--------|--3-----|
G|--------|--7-----|--------|
D|--0-----|--------|--------|
A|--------|--------|--------|
E|--------|--------|--------|
Major Seventh Intervals in the Key of C (C-B)
E|--------|--------|--------|
B|--------|--------|-----0--| Three ways to play Major 7
th
G|--------|-----4--|--------| interval from root C on sixth
D|-----9--|--------|--------| string (Low E String).
A|--------|--------|--------|
E|--8-----|--8-----|--8-----|
E|--------|--------|
B|--------|-----0--| Two ways to play Major 7
th
interval from
G|-----4--|--------| root C on fifth string (A String).
D|--------|--------|
A|--3-----|--3-----|
E|--------|--------|
E|----------|------7--|
B|------12--|---------| Two ways to play Major 7
th
interval from
G|----------|---------| root C on fourth string (D String).
D|--10------|--10-----|
A|----------|---------|
E|----------|---------|
E|-----7--|
B|--------| One way to play Major 7
th
interval from root C on
G|--5-----| third string (G String).
D|--------|
A|--------|
E|--------|
Here are the Major Seventh Intervals in the Key of A (Notes A-G#):
E|--------|--------|----------|-----4--|--------|-----4--|
B|--------|--------|----------|--------|-----9--|--------|
G|--------|--------|------13--|--------|--------|--2-----|
D|-----6--|-----6--|----------|--7-----|--7-----|--------|
A|--------|--0-----|--12------|--------|--------|--------|
E|--5-----|--------|----------|--------|--------|--------|
Major Seventh Intervals in the Key of G (Notes G-F#):
E|-----|-------|------|---2-|-----|---2-|-----|------|----14---|
B|-----|-------|----7-|-----|---7-|-----|---7-|------|---------|
G|-----|----11-|------|-----|-----|-0---|-0---|-0-11-|-12------|
D|---4-|-------|------|-5---|-5---|-----|-----|------|---------|
A|-----|-10----|-10---|-----|-----|-----|-----|------|---------|
E|-3---|-------|------|-----|-----|-----|-----|------|---------|
Major Seventh Intervals in the Key of E (Notes E-D#):
E|--------|--------|--------|--------|--------|-----11--|--0--11--|
B|--------|--------|-----4--|--------|-----4--|---------|---------|
G|--------|--------|--------|-----8--|--------|--9------|---------|
D|-----1--|--------|--------|--------|--2-----|---------|---------|
A|--------|-----6--|--7-----|--7-----|--------|---------|---------|
E|--0-----|--0-----|--------|--------|--------|---------|---------|
Major Seventh Intervals in the Key of D (Notes D-C#):
E|----------|--------|--------|--------|--------|---------|-----9--|------9-
B|----------|--------|-----2--|-----2--|--------|---------|--------|--------
G|----------|-----6--|--------|--------|-----6--|---------|--7-----|--------
D|------11--|--------|--------|--0-----|--0-----|--0--11--|--------|--12----
A|----------|--5-----|--5-----|--------|--------|---------|--------|--------
E|--10------|--------|--------|--------|--------|---------|--------|--------
The goal is to integrate an automatic awareness of these intervals and
where to find them on the guitar. Be patient, and keep working them
until you can visualize them without a guitar in your hands. This will
open up new worlds to your guitar playing.
O.K., that is “simple” enough. Let’s get to work and really pound
these shapes into our memory. On the following page s are easy
exercises to help you commit these patterns to memory.
This exercise will familiarize you with the first 5 intervals:
C Major At the 8th fret E string:
E|-----------------------------------------------------------------------------------
B|-----------------------------------------------------------------------------------
G|-----------------------------------------------------------------------------------
D|-----------------------------------------------------------------------------------
A|-------------------------------- 7--7--7----------- 8--8--8----------- 10--10--10-----
E|--8--8--8--10--10--10--8--8--8----------- 8--8--8----------- 8--8--8-----------------
At the 3
rd
Fret A String:
E|----------------------------------------------------------------------- ----
B|----------------------------------------------------------------------- ----
G|-------------------------------------------------------------------- -------
D|---------------------- --------2--2--2--------- 3--3--3----------- 5--5--5----
A|--3—-3--3--5—-5--5--3--3--3----------- 3--3--3----------- 3--3--3--------- ---
E|----------------------------------------------------------------------- ----
At the 1
st
Fret
E|----------------------------- 0--0--0----------- 1--1--1----------- 3--3--3-----
B|--1--1--1--3--3--3--1--1--1----------- 1--1--1----------- 1--1--1--------------
G|-----------------------------------------------------------------------------
D|---------- -------------------------------------------------------------------
A|-----------------------------------------------------------------------------
E|-----------------------------------------------------------------------------
You can play this an Octave higher at the 13
th
Fret:
(Sorry for the small type but it is the only way I could get it to fit)
E|-------------------------------------- 12--12--12-------------- 13--13--13-------------- 15--15--15--
B|--13--13--13--15--15--15--13--13--13-------------- 13--13--13--------- -----13--13--13--------------
G|--------------------------------------------------------------------- -----------------------------
D|-------------------------------------------------------------------------------------- ------------
A|------ --------------------------------------------------------------- -----------------------------
E|--------------------------------------------------------------------- -----------------------------
The pattern above (13
th
fret) I use all the time in soloing.
Remember these patterns can be moved up the neck or down
depending on what key you are playing.
Now - here are some great exercises for getting all the intervals
ingrained into your fingers and brain. Be sure to go as slow as you
need to play it correctly. Speed will come with accuracy and
repetition. This is also a great exercise fo r your picking hand.
Concentrating on strict alternating up and down strokes with your
picking hand will turn this phrase into a classically influenced
“pedal-point” exercise (in this case, use the same finger on the
fretting hand for every Root C note) – and in time, great speeds are
possible. You can also pick every note as a down stroke, for a
heavier, more accented modern rock feel.
C Major Scale at 8
th
fret:
|-------------------------------- |----------------------------- |
B|-------------------------------- |----------------------------- |
G|-------------------------------- |----------------------------- |
D|---------------------7---9---10-|---9---7---------------------|
A|--------7---8---10--------------|-----------10---8---7--------|
E|-8-10-8---8---8----8---8---8----|-8---8---8----8---8---8-10-8-|
Same concept up one Octave:
E|--------------------------------------- 8-|--------- ------------------------------ |
B|--------------------------- 10----12------|----12----10--------------------------- |
G|---------- 9----10----12------------------ |--------- ------- 12----10----9---------- |
D|-10-12-10---10----10----10----10----10---|-10----10----10----10----10---10-12-10-|
A|----------------------------------------- |--------- ------------------------------ |
E|----------------------------------------- |--------------------------------------- |
Now, let’s put it together, by going thru 2 full octaves from our Root:
E|--------------------------------|------------------------- 7---8-|
B|-------------------------------- |----------------8---10---------|
G|-------------------------------- |---7---9---10------------------ |
D|---------------------7---9---10-|------------------------------ -|
A|--------7---8---10--------------|------------------------------- |
E|-8-10-8---8---8----8---8---8----|-8---8---8----8---8----8---8---|
E|---7---------------------------- |----------------------------- |
B|-------10---8-------------------|-----------------------------|
G|----------------10---9---7------|----------------------------- |
D|----------------------------- 10-|---9---7---------------------|
A|-------------------------------- |-----------10---8---7--------|
E|-8---8----8---8----8---8---8----|-8---8---8----8---8---8-10-8-|
You can expand this exercise to all 12 major keys. You should also
apply this concept to the minor scale - and again, go thru all 12 minor
keys.
Finally, for real deep integration of the intervals of the Major scale, I
recommend singing the notes as you play them. This is done by
applying the technique famously known from the Movie “The Sound of
Music”, where we sing - Do Re Mi Fa Sol La Ti Do – to represent the
intervals.
Interval: Singing Note:
Root Do
Major Second Re
Major Third Mi
Perfect Fourth Fa
Perfect Fifth Sol
Major Sixth La
Major Seventh Ti
Octave Do
In the beginning, it is best to just to sing the intervals to only one
octave of one scale. Pick a major scale comfortable for your voice. You
can expand this to other octaves and keys when you are ready. Always
use just Do, Re, Mi… to sing all notes regardless of key or octave.
End of Intervals
End of Chapter 1.
Chapter 2: Harmony and Intervals
What is harmony?
The simple definition of harmony is two pitches (notes) played together.
Taking the intervals we can make the harmonies of western music.
Minor 2
nd
Most Dissonant
Major 2
nd
Minor 3
rd
Major 3
rd
Fourth
Diminished 5
th
Fifth Least Dissonant
Minor 6
th
Major 6
th
Minor 7
th
Major 7
th
Octave
A harmony is two or more tones played simultaneously.
Just as there are 12 tones and intervals there are 13 possible two note harmonies in each octave.
Unison C C
Minor 2
nd
C C#
Major 2
nd
C D
Minor 3
rd
C E flat
Major 3rd C E
Fourth (Perfect) C F
Diminished 5
th
C G flat
Fifth (Perfect) C G
Minor 6
th
C A flat
Major 6
th
C A
Minor or Dominant 7
th
C B flat
Major 7
th
C B
Octave C C
.
Each harmony has its own unique sound created by the amount of tension the two notes produce.
When three or more notes are played simultaneously they are called a chord
On the guitar each note is a frequency of vibrations of the string.
Scales and Melodies can be played in harmony. The formula is very easy to remember.
Let’s say we want to play the C scale in thirds:
The lower note will be the Root note and the higher note will be played a 3
rd
above.
The first line of notes starts on the C and plays the C scale. The second (top) line starts on the E and
then plays the C scale from E to E.
It must be understood that all of these harmonies are NOT Major 3rds.
The scale when harmonized in this fashion creates the following set of harmonies:
1. Major 3rd
C - E
2. Minor 3rd D - F
3. Minor 3rd E - G
4. Major 3rd F - A
2. Major 3rd G - B
6. Minor 3rd A - C
7. Minor 3rd B - D
Here is a Tab of the C Scale in thirds:
This scale uses only two strings - but shows an example of the major and minor harmonies:
E|--------------------------
B|--------------------------
G|--------------------------
D|--2--3--5--7--9---10--12--
A|--3--5--7--8--10--12--14--
E|--------------------------
Ma Mi Mi Ma Ma Mi Mi
MA=Major Harmony
MI=Minor Harmony
See the following diagram for the forms for each harmony.
I would recommend using the 1
st
and 2nd fingers for the major
- And the 1
st
and 3
rd
fingers for the minor.
Major 3
rd
Minor 3rd
This tab uses several strings to play the same notes and harmonies as our prior example.
Assimilating both fingerings will give you power and options for your guitar playing.
E|-----------------------
B|--------------------3--
G|-----------2--4--5--4--
D|--2--3--5--3--5--7-----
A|--3--5--7--------------
E|-----------------------
Note when the Minor 3
rd
harmony is played on the G and B strings
The form switches. This is because the strings are a major 3
rd
apart. G B. The rest of the strings are a 4
th
apart.
This is a very important distinction to make and memorize when
playing the guitar.
Remember, the guitar only has 12 notes – these notes just keep repeating in different octaves and
positions across the Fretboard. So, a key to becoming a good guitar player is an ability to recognize,
apply, and create from all of these repeating relationships. Central to this is your ability to know and
play the same thing in more than one way.
That’s why we are constantly showing you more than one way to play these fundamental examples.
Let’s make a comparison to clarify our point. Let’s say there is an accident in the city or town you
live, and traffic is completely stopped for hours, and you really need to get somewhere. Well – it
would be sure nice if there was another route available to get you to your destination. It would be
even nicer if you knew exactly where this other route is, and how to navigate it. Then, even on good
days, you can be in control of which way you want to travel in order to get to same place.
The Guitar has multiple ways of playing the same thing for almost everything, and by learning these
associations; you can obtain as much flexibility in your guitar playing, as you might have in the way
travel about the place where you live.
The greater point is - Learn the Fretboard, and practice the same ideas anywhere and everywhere
you can find them on the guitar neck.
The exercises and examples contained in this workbook will help you do just that!
Back to the Harmonies:
The most Common Harmonies Used are the 3
rd
5
th
and 6
th
.
The reason these are used more is that they sound the most
harmonious and least dissonant.
Let’s look at 3
rd
,5
th
, 6
th
, & 7
th
Harmonies in C Major.
Here is the C Scale harmonized in thirds:
Root Harm
C E
D F
E G
F A
G B
A C
B D
C Major 3
rd
Harmony in Tablature (2 Ways – good to know both !)
E|------------------------------
B|------------------------------
G|------------------------------
D|--2--3--5--7--9---10--12--14--
A|--3--5--7--8--10--12--14--15--
E|------------------------------
C Major 3
rd
Harmony (2cd wa y)
E|---------------------------
B|---------------------------
G|--------------4--5--7--9---
D|--2--3--5--7--5--7--9--10--
A|--3--5--7--8---------------
E|---------------------------
Here is the C Scale harmonized in 5ths:
Root Harm
C G
D A
E B
F C
G D
A E
B F
C Major 5ths Harmony in Tablature
E|---------------------------|
B|---------------------------|
G|---------------4--5--7--9--|
D|--5--7--9--10--2--3--5--7--|
A|--3--5--7--8---------------|
E|---------------------------|
Here is the C Scale harmonized in 6ths:
Root Harm
C A
D B
E C
F D
G E
A F
B G
C Major 6
th
Harmony in Tablature (Two ways to Play)
E|--------------------------- |--|--------------------------------- |
B|--------------5--6--8--10--|--|--------------------------------- |
G|--2--4--5--7---------------|--|-----------------9---10--12--14--|
D|--------------5--7--9--10--|--|--7--9---10--12------------------ |
A|--3--5--7--8---------------|--|-----------------10--12--14--15--|
E|------------------------ ---|--|--8--10--12--13------------------ |
Here is the C Scale harmonized in Major 7ths:
Root Harm
C B
D C
E D
F E
G F
A G
B A
C Major 7
th
Harmony in Tablature (Two ways to Play)
E|------------------------------ |--|-----------0--1--3--5--8--|
B|------------------------------ |--|--0--1--3-----------------|
G|--4--5--7--9--10--12--14--16--|--|--------------0--2--4--5--|
D|------------------------------ |--|-----0--2--3--------------|
A|--3--5--7--8--10--12--14--15--|--|--3----------------------- |
E|------------------------------ |--|-------------------------- |
Now, let’s practice the individual Harmonies as they are performed on the
Subliminal Series CD. Here, we will once again notate the examples in the Key of C
Major, but on the CD all keys are presented, and it is highly recommended to
practice all harmonies in all keys.
As on the CD, play individual notes of the harmony first (one to the next) – then play
the harmony notes together. We want to train your ears to recognize the harmony in
two ways – first, as intervals played in single note succession, and then ultimately as
stacked harmonies played simultaneously.
First, look at the standard notation for one octave of Intervals in the Key of C. Notice
the intervals are all played against the root note C.
So - Here is the starter Tablature to work through the intervals as you hear them on
the CD. Again, the tab will only be for the Key of C – to use as your guide to practice
through the other ke ys.
Here are the Harmonies In Tablature
E|----------- |
B|----------- | C to D – Major 2
nd
Harmony
G|----------- |
D|-----0--0--|
A|--3-----3--|
E|----------- |
E|----------- |
B|----------- | C to E – Major 3
rd
Harmony
G|----------- |
D|-----2--2--|
A|--3-----3--|
E|----------- |
E|----------- |
B|----------- | C to F - Perfect Fourth Harmony
G|----------- |
D|-----3--3--|
A|--3-----3--|
E|----------- |
E|----------- |
B|----------- | C to G – Perfect Fifth Harmony
G|----------- |
D|-----5--5--|
A|--3-----3--|
E|----------- |
E|----------- |
B|----------- | C to A – Minor Sixth Harmony
G|-----2--2--|
D|----------- |
A|--3-----3--|
E|----------- |
E|----------- |
B|----------- | C to B – Major Seventh Harmony
G|-----4--4--|
D|----------- |
A|--3-----3--|
E|-----------|
CHORDS
The most common harmonies are the 5
th
and 3
rd
(Major or Minor).
In fact when creating chords or Triads (3 note chords) the Root 3
rd
and Fifth are used.
The C Major Chord consists of C (root) – E (3
rd
) – G (5
th
)
Notes: C E G C E
There are two kinds of Triads.
Closed Voicing – The Chord above is a CLOSED triad. The notes are all in a row 1 – 3 – 5
Open Voicing - The Chord Below is an OPEN triad. The Notes jump 1 - 5 – 1 – 3
Notes are: A E A C# - This is an “OPEN-VOICED” triad.
1 5 1 3
It can be noted that for the guitar there are 5 Scale and Chord Forms, Which can be
broken into these two groups.
Closed Forms: C and G
Open Forms: E A D
I believe the most important theory about guitar chords and scales is commonly referred to as the
CAGED system.
The CAGED system is named so because it follows the Open 5 chord forms:
C Major
A Major
G Major
E Major
D Major
So, we need to look at the CAGED chords in detail.
For every CAGED key, we have five different positions we can play the same chord.
EXAMPLE: We can play a C Chord 5 different ways - at any one of the C, A, G, E, or D positions.
It is important to grasp this –– these CAGED chords offer you a way to see the constantly
reoccurring patterns of music on the Guitar - and they give you the tools for using the entire
Fretboard for your creativity.
Without further adieu, let’s go thru each Caged Key (C,A,G,E,D) and show the 5 basic chord
positions for each and every Key.
One final note on these next examples -We will be using the terms “closed -voicing” and
“open voicing” to describe the two types of CAGED chords. These terms differ from the
traditional definitions of “Open Chords” and “Closed Chords” that you may be familiar
with to describe chords.
In CAGED - “COLSED-VOICING” chords are chords that strictly follow the numerical scale
degrees in the construction of the chord from its lowest pitched note to its highest pitched note.
These Chords are what we call “CLOSED-VOICING” triads. The notes are all in a row 1 – 3 – 5.
“OPEN-VOICING” chords are not restricted by following the numerical order of scale degrees. The
Notes jump 1 - 5 – 1 – 3…
All Following Examples show the 2 types of “Closed-Voiced” Chords on the first staff, and the 3
types of “Open-Voiced” Chords on the second staff.
Key Of C Major – CAGED Chord Forms
Key Of A Major - CAGED Chord Forms
Key Of G Major - CAGED Chord Forms
Key Of E Major - CAGED Chord Forms
Key Of D Major - CAGED Chord Forms
Chord Progressions:
A chord progression is a harmonic sequence.
Generally the chords used in a progression are triads or triads with extensions.
In music theory chords are often denoted in Roman numerals.
The 1 Chord = I or the number one in Roman Numerals
Also when a chord is Major it is denoted by uppercase.
When a Chord is minor the letter is lower case.
So the Major scale in Roman numerals looks like this:
I ii iii IV V vi vii
The Root Chord or I Chord is major
The 2
nd
chord or ii chord is minor
The 3rd chord or iii chord is minor
The 4th chord or IV chord is Major
The 5th chord or V chord is Major
The 6th chord or ii chord is minor
The 7th chord or ii chord is minor
When a chord progression is shown as:
I IV V I
The progression is:
1 Chord - 4 Chord - 5 Chord - 1 Chord
In the Key of C
C Major F Major G Major C Major
The Numerals represent the relationship
To the root chord.
Here are some classic Chord Progressions that are found in all different genre of music such as
Classical, Rock, Jazz, Blues, Country, Blues Grass and many others western styles of Music.
The Most Basic Progression:
I IV V I
Or
I V IV I
Here are Examples of the I – IV - V – I Progression:
Key of C
Key of A
Key of G
Key of E
Key of D
Key of B Flat
Key of A Flat
Some songs that use the I - IV - V - I progressions are:
Johnny B. Goode
Wild Thing
Louie Louie
Red House
Tore Down
La Bamba (verse)
Like A Rolling Stone (Chorus)
I Love Rock n’ Roll (Chorus)
Here are Examples of the I – V - IV – I Progression
Key of C
Key of A
Key of G
Key of E
Key of D
Key of B Flat
Key of A Flat
Another Very Often Used Progression is the 2 - 5 - 1
And Examples of this would be.
Afternoon in Paris
How High The Moon
Lazybird
Bluesette
Recordame
Joyspring
Stablemates
Along Came Betty
Giant Steps
Here are Examples of the ii - V - I Progression
Key of C
Key of A
Key of G
Key of E
Key of D
Key of B Flat
Key of A Flat
OK – So, the ii-V-I is the “Jazz turnaround” – almost every single Jazz tune uses
this route to get back to the I chord. But, we need to fill in one more chord in this
progression to really show you the full progression that every Jazz player must
know.
The I-vi-ii-V is the JAZZ Progression
- And, in Jazz it most common to use and/or accentuate all progressions by adding
extensions to the chords. We will begin with 7
th
chords.
Extensions are the notes harmonized above the Triad.
Dominant 7
th
Chord = Usually called the Dominant or Flat 7
th
Chord.
This is the 7
th
note of the Dominant V scale - Also known as the mixolydian Mode.
Your regular Triad would be 1 – 3 – 5 … Now we add the flat 7
th
Here is your Open C Chord
Here we add the 7
th
.
The Dominant 7
th
Chord is associated with Rock and Blues
The Dominant 7
th
chord wants to resolve back to the I chord.
The Major 7
th
Chord uses the 7
th
note of the Major scale.
The Major 7 is the sweetest chord and has a very pure sound when
compared to the Dominant 7
th
which has a rougher sound or more dissonant sound.
So lets look at the I-vi-ii-V Jazz Progression with Major/Minor/Dominant
7
th
Extensions in all of the CAGED Keys.
Key of C
Key of A
Key of G
Key of E
Key of D
Key of B Flat
Key of A Flat
Chapter 3. Harmony and Intervals
Soloing over Chords Using Harmony and Melody
Let’s discuss how you can approach your guitar solos. To demonstrate, we’ll use a progression from
the prior pages in this book as the example to solo over.
Let’s begin with our I-V-IV-I progression in the key of G Major.
Progression in the Key of G
So, since we are in the Key of G –
Every note in the G major scale will work for soloing.
E|---------------------------2-3-|
B|-----------------------3-5-----|
G|-----------------2-4-5---------|
D|-----------2-4-5---------------|
A|-----2-3-5---------------------|
E|-3-5---------------------------|
Every note in the G Major Pentatonic scale will also work over this progression.
E|---------------------3-|
B|-----------------3-5---|
G|-------------2-4-------|
D|---------2-5-----------|
A|-----2-5---------------|
E|-3-5-------------------|
At this point, we need to remember the Relative Major/Minor relationship existing for all keys.
This relationship states that the Relative Minor for any Major Key can be accomplished by moving
3 half-steps downward from our Major root (in this case – G @ the 3
rd
fret).
Arriving 3 half-steps down from G (any and every G on the Fretboard), we are always at an E note.
This E note is the root of our Relative Minor Key to the Major Key of G.
This means that all the notes in E Minor are the same as all the notes in G Major – and
therefore ALL NOTES in the E Minor & E Minor Pentatonic scale will work over our
progression too.
E Minor at open position
E|-----------------------------0-2-3-|
B|-----------------------0-1-3-------|
G|-------------------0-2-------------|
D|-------------0-2-4-----------------|
A|-------0-2-3-----------------------|
E|-0-2-3-----------------------------|
E Minor Pentatonic at Open Position
E|---------------------0-3-|
B|-----------------0-3-----|
G|-------------0-2---------|
D|---------0-2-------------|
A|-----0-2-----------------|
E|-0-3---------------------|
These E Minor scales will allow you to change the order of the very same notes you play in G
major. This is important and powerful information used by every working guitar player. You do not
have to learn new notes – just a new context or approach for using the notes you already know.
This relationship is fundamental to understanding the connections on the Fretboard that can make
you a better player.
Can you sense how powerful the information of the Relative Major/ Minor
relationship is? It’s like knowing where the out of bounds markers are on a sporting
field, and then being confident that all of your movements taking place inside those
boundaries are “in fair play”.
So it is very important you understand that the Relative Major/Minor concept, gives
you a big playing field of allowable, usable notes to play in confidence because they
are correctly in key. Once you understand that, and start using it to your advantage,
you will begin to see finer, more detailed possibilities that exist inside this “playing
field” of notes. This is similar to the process of an athlete first understanding the
general rules and boundaries of the playing field or sport, and then moving on to
understanding, implementing, and utilizing finer details within the larger structure.
So it is with music - knowing just your Major and Minor Diatonic and Pentatonic
Scales, and how they relate via the concept of The Relative Major/Minor
Relationship will give you so much to work with, and form the basis for more
detailed understanding to follow.
Which leads to our next point.
There are a lot of other ways to create your solos (or lead harmonies) against
this progression.
We could use Modes:
A Dorian mode (A,B,C,D,E,F#,G,A octave) will work nicely against the whole
progression.
We could use Arpeggios, Scales, and Modes - and change them with each chord,
instead of playing “over” the progression with a single scale or mode.
Example 1: Over the G Major chord, we can play a G Major Arpeggio (G,B,D)
Over the D Major chord, we can play a D Major Arpeggio (D,F#,A)
Over the C Major chord, we can play a C Major Arpeggio (C,E,G)
Over the final G chord, we can play a G Major 7
th
Arpeggio (G,B,D,F#).
Let’s cover one more approach to playing over this same progression using even
more choices.
Example 2: Over the first G Major chord, we can play an E Minor Arpeggio (E,G,B)
Over the D Major chord, this time, let’s play the A Dorian scale
(A,B,C,D,E,F#,G,A)
Over the C Major chord, let’s use the E Minor Arpeggio again (E,G,B)
Finally, over the last G Major chord, let’s play the A Dorian Scale again
(A,B,C,D,E,F#,G,A)
So you can see your choices for Melody and Harmony in your lead playing are
extensive. There is a whole world of useful approaches to soloing, and these
examples are just to introduce you to the possibilities.
We will be covering them in more depth and greater variety at the guitar5day.com
website, and in the soon to be released Amazing Guitar 3.0 DVD Course .
Until then, Keep Practicing!!!
We also want your questions and comments…
…And stay tuned for Amazing Guitar 3.0 coming soon.
