amazing guitar secrets book

TTTTTTTT hhhhhhhh eeeeeeee UUUUUUUU llllllll tttttttt iiiiiiii mmmmmmmm aaaaaaaa tttttttt eeeeeeee ,,,,,,,, NNNNNNNN oooooooo -------- HHHHHHHH oooooooo llllllll dddddddd ssssssss -------- BBBBBBBB aaaaaaaa rrrrrrrr rrrrrrrr eeeeeeee dddddddd ,,,,,,,, SSSSSSSS uuuuuuuu pppppppp eeeeeeee rrrrrrrr GGGGGGGG uuuuuuuu iiiiiiii dddddddd eeeeeeee TTTTTTTT oooooooo IIIIIIII nnnnnnnn ssssssss tttttttt aaaaaaaa nnnnnnnn tttttttt llllllll yyyyyyyy IIIIIIII mmmmmmmm pppppppp rrrrrrrr oooooooo vvvvvvvv eeeeeeee YYYYYYYY oooooooo uuuuuuuu rrrrrrrr GGGGGGGG uuuuuuuu iiiiiiii tttttttt aaaaaaaa rrrrrrrr PPPPPPPP llllllll aaaaaaaa yyyyyyyy iiiiiiii nnnnnnnn gggggggg !!!!!!!!

AAAAAAAA mmmmmmmm aaaaaaaa zzzzzzzz iiiiiiii nnnnnnnn gggggggg GGGGGGGG uuuuuuuu iiiiiiii tttttttt aaaaaaaa rrrrrrrr

SSSSSSSS eeeeeeee cccccccc rrrrrrrr eeeeeeee tttttttt ssssssss !!!!!!!! BBBBBBBB yyyyyyyy DDDDDDDD aaaaaaaa nnnnnnnn DDDDDDDD eeeeeeee nnnnnnnn llllllll eeeeeeee yyyyyyyy

2005 Dan Denley, www.AmazingGuitarSecrets.com 2

The Ultimate, No-Holds-Barred, Super-Guide To Instantly Improve Your Guitar Playing!

Dear Fellow Guitarist,Dear Fellow Guitarist,Dear Fellow Guitarist,Dear Fellow Guitarist,

ou are about to embark on a journey through the amazing ou are about to embark on a journey through the amazing ou are about to embark on a journey through the amazing ou are about to embark on a journey through the amazing world of guitar. world of guitar. world of guitar. world of guitar. Youre going to learn how to play the major

scales, minor scales, all seven modes, chords, barre chords, and much more. Even if you dont know which end of the guitar to hold, youre still going to make quick progress -- I guarantee it! HHHHow ow ow ow TTTTo o o o UUUUse se se se TTTThis his his his GGGGuide:uide:uide:uide:

Everything in this guide is explained in detail in the video lessons which accompany your course. Theres no need to beat your head against the wall trying to understand a certain concept. Simply watch the accompanying video lessons ALONG WITH your guide -- I go over everything with you.

Theres no need to try and learn everything all at once. Take your time and go slowly, making sure that you have a firm understanding of each concept before you move on to the next.

Y


Make sure you are PLAYING along with the examples! Dont just sit back and watch. Grab youre guitar and try it! Youll learn faster and make more progress.

Have fun! I repeat, HAVE FUN! Lets face it. For the vast majority of us, playing guitar is -- and will most likely remain -- a hobby, not a profession. So, remember to make sure that youre having fun. Now, Im not saying that that learning guitar is going to be a bed a roses. Its not. Sometimes it takes a lot of HARD work to get good. No, I take that back. It takes a lot of hard work to even be able to play anything at all! But the important thing is to have fun. If you make mistakes, who cares? Keep practicing and soon youll be playing things you never thought possible.

Important Note About The Movable Positions And Tab:Important Note About The Movable Positions And Tab:Important Note About The Movable Positions And Tab:Important Note About The Movable Positions And Tab: As soon as you start practicing the scales in this book you will notice something: the movable fretboard patterns and the tab do NOT always match. This is on purpose. The reason is simple: there are several different ways to play the same scale. This will expose you to a least two. You can play both variations and see which one you like best. Ive tried to indicate when the movable pattern and the tab do NOT match. Please keep your eyes pealed for this as you go through each position.

Important Note About The Modes:Important Note About The Modes:Important Note About The Modes:Important Note About The Modes: You will also see that Ive labeled each position for you with the position number AND the corresponding mode (major scale and melodic scale only). Try to keep in mind that each position of the major scale corresponds to a particular mode. Also, remember that each mode can be transposed from one key to another.


So, grab your guitar, lock the door and roll up your sleeves. And lets get started! Cheers,

Dan Denley


Table Of ContentsTable Of ContentsTable Of ContentsTable Of Contents Table Of Contents..................................................................................................................................................................5

Guitar Lessons Covered on DVD 1.........................................................................................................................................7

From The Lesson Titled Chords ..........................................................................................................................................7

Chord Progressions Using Major CAGED Chords...................................................................................................................8

From The Lesson Titled Reading Tab .............................................................................................................................. 12

From The Lesson Titled Playing Tab ............................................................................................................................... 13

From The Lesson Titled Building Finger Strength........................................................................................................... 14

From The Lesson Titled, Notes On The Fretboard........................................................................................................... 19

The Major Scale Formula:................................................................................................................................................... 19

A Major Scale In All Seven Positions.................................................................................................................................. 24



Position 1, Major Scale: : Ionian Mode .............................................................................................................................. 28

Position 2, Major Scale: Dorian Mode ................................................................................................................................ 30

Position 3, Major Scale: Phrygian Mode............................................................................................................................. 32

Position 4, Major Scale: Lydian Mode ................................................................................................................................ 34

Position 5, Major Scale: Mixolydian Mode ......................................................................................................................... 36

Position 6, Major Scale: Aeolian Mode (same as Natural Minor) ................................................................................... 38

Position 7, Major Scale: Locrian Mode ............................................................................................................................... 40

From The Lesson Titled, Power Chords........................................................................................................................... 41

From The Lesson Titled, Scale Degrees .......................................................................................................................... 43

Guitar Lessons Covered On DVD 2 ..................................................................................................................................... 44

From The Lesson Titled, Intervals................................................................................................................................... 44


Intervals Found In The Major Scale................................................................................................................................... 49

Three different forms of the G major 7th chord.................................................................................................................. 50

From The Lesson Titled, The Minor Scale........................................................................................................................ 51

The Harmonic Minor Scale.................................................................................................................................................. 54

The Melodic Minor Scale..................................................................................................................................................... 56

Intervals Found In The Natural Minor Scale...................................................................................................................... 62

From The Lesson Titled, ..................................................................................................................................................... 63

Creating Chords Using Intervals ..................................................................................................................................... 63

Quick Reference Guide For Interpreting Chord Symbols................................................................................................... 64

From The Lesson Titled, Practicing Concepts ................................................................................................................. 67

The Natural Minor Scale ..................................................................................................................................................... 71

G Natural Minor Scale In All Seven Positions .................................................................................................................... 72

The Harmonic Minor Scale.................................................................................................................................................. 86

The Melodic Minor Scale................................................................................................................................................... 101

From The Lesson Titled, Barre Chords .......................................................................................................................... 132

Sample Chord Progressions Using Barre Chords: ............................................................................................................ 132

Example 4 ......................................................................................................................................................................... 135

From The Lesson Titled, Pentatonic Scales................................................................................................................... 136

Transcription of Solo at End of Pentatonic Scales section............................................................................................... 143

Conclusion ........................................................................................................................................................................ 147


GuiGuiGuiGuitar tar tar tar Lessons Covered Lessons Covered Lessons Covered Lessons Covered oooon DVD 1n DVD 1n DVD 1n DVD 1

From From From From The Lesson Titled The Lesson Titled The Lesson Titled The Lesson Titled ChordsChordsChordsChords

The The The The Major CAGED ChordsMajor CAGED ChordsMajor CAGED ChordsMajor CAGED Chords

C MajorC MajorC MajorC Major A MajorA MajorA MajorA Major G MajorG MajorG MajorG Major E MajorE MajorE MajorE Major D MajorD MajorD MajorD Major


Chord Progressions Using Major CAGED ChordsChord Progressions Using Major CAGED ChordsChord Progressions Using Major CAGED ChordsChord Progressions Using Major CAGED Chords

Progression 1: G|D|C|DProgression 1: G|D|C|DProgression 1: G|D|C|DProgression 1: G|D|C|D


PPPProgression 2:rogression 2:rogression 2:rogression 2: D|A|G|A|D D|A|G|A|D D|A|G|A|D D|A|G|A|D


Progression 3: C|G|CProgression 3: C|G|CProgression 3: C|G|CProgression 3: C|G|C


Progression 4:Progression 4:Progression 4:Progression 4: A|E|D|E|AA|E|D|E|AA|E|D|E|AA|E|D|E|A


From The Lesson Titled From The Lesson Titled From The Lesson Titled From The Lesson Titled Reading TabReading TabReading TabReading Tab

Chords Discussed:Chords Discussed:Chords Discussed:Chords Discussed:

G Major Chord C Major Chord A Major Chord


From The Lesson TitFrom The Lesson TitFrom The Lesson TitFrom The Lesson Titled led led led Playing TabPlaying TabPlaying TabPlaying Tab E Minor Pentatonic ScaleE Minor Pentatonic ScaleE Minor Pentatonic ScaleE Minor Pentatonic Scale

E minor pentatonic scale in one octave on 1 stringE minor pentatonic scale in one octave on 1 stringE minor pentatonic scale in one octave on 1 stringE minor pentatonic scale in one octave on 1 string

|---------------| |---------------| |---------------| |---------------| |---------------| |-0-3-5-7-10-12-|

E minor pentatonic scale in one octave on 3 stringsE minor pentatonic scale in one octave on 3 stringsE minor pentatonic scale in one octave on 3 stringsE minor pentatonic scale in one octave on 3 strings

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


From The Lesson Titled Building Finger StrFrom The Lesson Titled Building Finger StrFrom The Lesson Titled Building Finger StrFrom The Lesson Titled Building Finger Strengthengthengthength

Exercise 1: Chromatic A

scendingExercise 1: Chrom

atic A


atic A


atic A

scending


Exercise Exercise Exercise Exercise 22 22

: Chromatic

: Chromatic

: Chromatic

: Chromatic DeDe DeDe scending

scendingscendingscending


Exercise 3Exercise 3Exercise 3Exercise 3 : Chrom

atic

: Chromatic

: Chromatic

: Chromatic A

scending/DescendingAscending/Descending

Ascending/Descending

Ascending/Descending


Exercise Exercise Exercise Exercise 44 44

: : : : Mixed

Mixed

Mixed

Mixed Chrom

aChrom

aChrom

aChrom

atic A

scendingtic A

scendingtic A

scendingtic A

scending /Descending/Descending/Descending/Descending


Exercise 5: Exercise 5: Exercise 5: Exercise 5: Skipping Chrom

atic A

scendingSkipping Chrom

atic A


atic A


atic A

scending


From The Lesson Titled, From The Lesson Titled, From The Lesson Titled, From The Lesson Titled, Notes On The FretboardNotes On The FretboardNotes On The FretboardNotes On The Fretboard

******** Note: Note: Note: Note: In addition to the information on the DVD, use the Guitar Codex software to memorize the notes on the fretboard. This software will give you a visual representation of the notes on

the fretboard as well as a vast number of chords and scales. A video tutorial on how to download this software as well as how to use it, is included with your course.

The Major Scale The Major Scale The Major Scale The Major Scale Formula: Formula: Formula: Formula:

Whole step | Whole step | Half step | Whole step | Whole step | Whole step | Half step

Abbreviated, the formula looks like:

W| W | H | W | W | W | H


Remember: Remember: Remember: Remember: A whole step is when you skip a fret. A half step is from one fret to the next fret (without skipping). Whole and half steps can ascend (go up the fretboard) or descend (go down the fretboard). For example:

Whole Step, AscendingWhole Step, AscendingWhole Step, AscendingWhole Step, Ascending

|-----| |-----| |-----| |-----| |-----| |-3-5-|

Whole Step, Whole Step, Whole Step, Whole Step, DeDeDeDescendingscendingscendingscending

|-----| |-----| |-----| |-----| |-----| |-5-3-|


Half Step, AscendingHalf Step, AscendingHalf Step, AscendingHalf Step, Ascending

|-----| |-----| |-----| |-----| |-----| |-4-5-|

Half StepHalf StepHalf StepHalf Step, Descending, Descending, Descending, Descending

|-----| |-----| |-----| |-----| |-----| |-5-4-|


G Major ScaleG Major ScaleG Major ScaleG Major Scale oooon n n n oooone ne ne ne sssstring using the whole/half step formula for the major scaletring using the whole/half step formula for the major scaletring using the whole/half step formula for the major scaletring using the whole/half step formula for the major scale

G Major Scale G Major Scale G Major Scale G Major Scale iiiin one octave on three stringsn one octave on three stringsn one octave on three stringsn one octave on three strings


G Major Scale in two octaves (first position)G Major Scale in two octaves (first position)G Major Scale in two octaves (first position)G Major Scale in two octaves (first position)

Movable Major Scale PatternMovable Major Scale PatternMovable Major Scale PatternMovable Major Scale Pattern (1(1(1(1sssstttt position) position) position) position)


A Major ScaleA Major ScaleA Major ScaleA Major Scale In All Seven Positions In All Seven Positions In All Seven Positions In All Seven Positions

The tablature in the following diagram is NOT exactly the same as what is played in the video. The reason is that there are many approaches to playing scales. This way, you are exposed to at least two. For same reason, the notation and the movable patterns wont always match. This is true for all the scales in this book. The only difference between what only you see in the video and what is notated below is the 2nd string always has two notes, not three.

How To Understand Each Column HeadingHow To Understand Each Column HeadingHow To Understand Each Column HeadingHow To Understand Each Column Heading Position NumberPosition NumberPosition NumberPosition Number Most books, videos and other guitar instructional material teach a scale in only one position. Thats great when youre starting out. But, the problem with that approach is that once youve mastered that position, youre stuck! Great guitarists know that there are actually seven different positions in which to play any scale. Once you learn the seven, movable patterns you can play your solos over the ENTIRE fretboard! Heres Heres Heres Heres what you need to know about the seven positions:what you need to know about the seven positions:what you need to know about the seven positions:what you need to know about the seven positions: Every scale has a total of seven positions Every scale has a total of seven positions Every scale has a total of seven positions Every scale has a total of seven positions that is can be played in.that is can be played in.that is can be played in.that is can be played in. The reason is that there are seven different notes in every scale. For example, the A Major scale has these seven notes: A, B, C#, D, E, F#, G#. Each position corresponds to one of these seven notesEach position corresponds to one of these seven notesEach position corresponds to one of these seven notesEach position corresponds to one of these seven notes of the scale of the scale of the scale of the scale.... Therefore, for the A major scale, Position 1 starts on A. Position 2, starts on B. Position 3, starts on C#. Position 4, starts on D. And so on, and so forth. In the major scaIn the major scaIn the major scaIn the major scale, ele, ele, ele, each ach ach ach of the seven of the seven of the seven of the seven positionpositionpositionpositionssss also repr also repr also repr also represents aesents aesents aesents a Mode.Mode.Mode.Mode. So, once youve memorized all seven positions, you also memorized (the first position) of each of the seven modes! Cool, huh? Now, each mode has its own set of seven positions, but you dont need to worry about that, right now. Just be aware that as you are practicing each position, you are simultaneously playing one of the seven modes.


A A A A Quick List Of The Positions In The Major Scale Quick List Of The Positions In The Major Scale Quick List Of The Positions In The Major Scale Quick List Of The Positions In The Major Scale And Their Corresponding ModeAnd Their Corresponding ModeAnd Their Corresponding ModeAnd Their Corresponding Mode::::

Position in Major ScalePosition in Major ScalePosition in Major ScalePosition in Major Scale CorreCorreCorreCorresponding Modesponding Modesponding Modesponding Mode

Position 1Position 1Position 1Position 1 IonianIonianIonianIonian

Position 2Position 2Position 2Position 2 DorianDorianDorianDorian

Position 3Position 3Position 3Position 3 PhrygianPhrygianPhrygianPhrygian

Position 4Position 4Position 4Position 4 LydianLydianLydianLydian

Position 5Position 5Position 5Position 5 MixolydianMixolydianMixolydianMixolydian

Position 6Position 6Position 6Position 6 AeolianAeolianAeolianAeolian

Position 7Position 7Position 7Position 7 LocrianLocrianLocrianLocrian


The Movable PatternThe Movable PatternThe Movable PatternThe Movable Pattern Take special note of the column labeled MMMMovableovableovableovable PPPPatternatternatternattern.... This column gives you a movable pattern for each position of the scale. IMPORTANT!IMPORTANT!IMPORTANT!IMPORTANT! It may not look like much, but the Movable PatternsMovable PatternsMovable PatternsMovable Patterns Ive given you for each position are the KEYS TO UNLOCK your ability to play anywhere on the fretboard! I Repeat: The movable patterns are the secret codesecret codesecret codesecret code that you need to crack in order to play anywhere on the fretboard. Do NOT overlook these little, simple patterns. The reason they are so important is because once youve memorized each pattern, you can then transpose (move to another key) that pattern to any key on the fretboard. If you want to play the A major scale, simply take position 1 and start on A (5th fret, 6th string). Then follow the pattern. For example:

The A Major Scale On 1 StringThe A Major Scale On 1 StringThe A Major Scale On 1 StringThe A Major Scale On 1 String

|----------------------------------------------------------| |----------------------------------------------------------| |----------------------------------------------------------| |----------------------------------------------------------| |----------------------------------------------------------| |-----5-----7-----9-----10-----12-----14-----16-----17-----|

A, the root of 1st note of the scale, is your starting point

for position 1.

B, the 2nd degree of the A scale, is your

starting point for position 2.

C#, the 3nd degree of the A scale, is

your starting point for position 3.

D, the 4th degree of the A scale, is your starting point for

position 4.

E, the 5th degree of the A scale, is


F#, the 6th degree of the A scale, is your

starting point for position 6.

G#, the 7th degree of the A scale, is


A, the root of

the key of A, starts over with

position 1.


A Major Scale In All Seven PositionsA Major Scale In All Seven PositionsA Major Scale In All Seven PositionsA Major Scale In All Seven Positions Position 1Position 1Position 1Position 1, A Major Scale, A Major Scale, A Major Scale, A Major Scale: : : : A A A A IonianIonianIonianIonian


MovablMovablMovablMovable Patterne Patterne Patterne Pattern

Position 1, Major Scale: Position 1, Major Scale: Position 1, Major Scale: Position 1, Major Scale: : : : : IonianIonianIonianIonian ModeModeModeMode


Position Position Position Position 2222, A Major Scale: B Dorian , A Major Scale: B Dorian , A Major Scale: B Dorian , A Major Scale: B Dorian


Movable PatternMovable PatternMovable PatternMovable Pattern

Position 2, Major ScalePosition 2, Major ScalePosition 2, Major ScalePosition 2, Major Scale: : : : DorDorDorDorianianianian Mode Mode Mode Mode


Position Position Position Position 3333, A Major Scale: C# Phrygian Mode, A Major Scale: C# Phrygian Mode, A Major Scale: C# Phrygian Mode, A Major Scale: C# Phrygian Mode



Position Position Position Position 3333, , , , Major Scale: Major Scale: Major Scale: Major Scale: PhrygiaPhrygiaPhrygiaPhrygiannnn Mode Mode Mode Mode


Position Position Position Position 4444, A Major Scale: D Lydian Mode, A Major Scale: D Lydian Mode, A Major Scale: D Lydian Mode, A Major Scale: D Lydian Mode


Movable PMovable PMovable PMovable Patternatternatternattern

Position 4, Major Scale: Position 4, Major Scale: Position 4, Major Scale: Position 4, Major Scale: LydiLydiLydiLydianananan Mode Mode Mode Mode


Position Position Position Position 5555, A Major Scale, A Major Scale, A Major Scale, A Major Scale: E Mixolydian Mode: E Mixolydian Mode: E Mixolydian Mode: E Mixolydian Mode



Position 5, Major Scale: Position 5, Major Scale: Position 5, Major Scale: Position 5, Major Scale: MixolydiaMixolydiaMixolydiaMixolydiannnn Mode Mode Mode Mode


Position Position Position Position 6666, A Major Scale: F# Aeolian (same as Natural Minor), A Major Scale: F# Aeolian (same as Natural Minor), A Major Scale: F# Aeolian (same as Natural Minor), A Major Scale: F# Aeolian (same as Natural Minor)



Position 6, Major Scale:Position 6, Major Scale:Position 6, Major Scale:Position 6, Major Scale: Aeolian Aeolian Aeolian Aeolian Mode (same as Natural Minor) Mode (same as Natural Minor) Mode (same as Natural Minor) Mode (same as Natural Minor)


Position Position Position Position 7777, A Major Scale: G# Locrian Mode, A Major Scale: G# Locrian Mode, A Major Scale: G# Locrian Mode, A Major Scale: G# Locrian Mode



Position 7, Major ScaPosition 7, Major ScaPosition 7, Major ScaPosition 7, Major Scale: le: le: le: LocrLocrLocrLocrianianianian Mode Mode Mode Mode


From The Lesson From The Lesson From The Lesson From The Lesson Titled, Titled, Titled, Titled, Power ChordsPower ChordsPower ChordsPower Chords

Notes about Power ChordsNotes about Power ChordsNotes about Power ChordsNotes about Power Chords

Power chords are the building blocks of thousands and thousands of rock songs. They are simple and can be easily moved around the fretboard in any key.

They do NOT contain the 3rd degree of the chord, therefore, they are neither major nor minor.

This gives them a certain ability to slide in and out of different keys that is not found in a standard triad.

Generally power chords are played only on the 5th and 6th strings, or the 4th and 5th.


ExampleExampleExampleExample of how power chords can be played of how power chords can be played of how power chords can be played of how power chords can be played onononon b b b both the 5oth the 5oth the 5oth the 5thththth/6/6/6/6thththth s s s strings AND the 4trings AND the 4trings AND the 4trings AND the 4thththth/5/5/5/5thththth strings strings strings strings::::

E Power ChordE Power ChordE Power ChordE Power Chord |--------| |--------| |--------| |--------| |---14---| |---12---|

=

E Power ChordE Power ChordE Power ChordE Power Chord |-------| |-------| |-------| |---7---| |---5---| |-------|

B B B B Power ChordPower ChordPower ChordPower Chord |-------| |-------| |-------| |-------| |---9---| |---7---|

=

BBBB Power Chord Power Chord Power Chord Power Chord |-------| |-------| |-------| |---4---| |---2---| |-------|

DDDD Power Chord Power Chord Power Chord Power Chord |--------| |--------| |--------| |--------| |---12---| |---10---|

=

DDDD Power ChordPower ChordPower ChordPower Chord |-------| |-------| |-------| |-------| |---7---| |---5---|


FromFromFromFrom The Lesson Titled, The Lesson Titled, The Lesson Titled, The Lesson Titled, Scale DegreesScale DegreesScale DegreesScale Degrees

Each note in a scale can be referred to as a specific scale degree: the first, second, third, fourth, fifth, sixth or seventh.

Heres the G Major Scale in one octave on three strings:Heres the G Major Scale in one octave on three strings:Heres the G Major Scale in one octave on three strings:Heres the G Major Scale in one octave on three strings:

Heres the G Major scale inHeres the G Major scale inHeres the G Major scale inHeres the G Major scale in one octave with each degree identified for you: one octave with each degree identified for you: one octave with each degree identified for you: one octave with each degree identified for you:

|-----------------------------------------------| |-----------------------------------------------| |-----------------------------------------------| |-----------------------------2(6th)-4(7th)-5(1st)-| |------------2(3rd)-3(4th)-5(5th)------------------| |-3(1st)-5(2nd)-----------------------------------|


GGGGuitar Lessons Covered On DVD uitar Lessons Covered On DVD uitar Lessons Covered On DVD uitar Lessons Covered On DVD 2222 From The Lesson Titled, Intervals

In music, the space between any two notes can be measured. This space or distance is called an interval. Intervals are the building blocks of chords. Once you understand intervals, you can build any chord in any key (even if youve never heard of that chord.)

Heres the G Major scale in one octave with each interval identified for Heres the G Major scale in one octave with each interval identified for Heres the G Major scale in one octave with each interval identified for Heres the G Major scale in one octave with each interval identified for you:you:you:you:

|------------------------------------------------| |------------------------------------------------| |------------------------------------------------| |-----------------------------2(6th)-4(7th)-5(1st)-| |------------2(3rd)-3(4th)-5(5th)------------------| |-3(1st)-5(2nd)-----------------------------------|


In any major key...In any major key...In any major key...In any major key...

The distance between the 1st degree of the scale and the 2nd degree = Major 2Major 2Major 2Major 2ndndndnd. (Also notated M2)

Major 2Major 2Major 2Major 2ndndndnd in the key of G Major in the key of G Major in the key of G Major in the key of G Major

|-----| |-----| |-----| |-----| |-----| |-3-5-|

The distance between the 1st degree of the scale and the 3rd degree = Major 3Major 3Major 3Major 3rdrdrdrd.

(Also notated M3)

Major Major Major Major 3333rdrdrdrd in the key of G Major in the key of G Major in the key of G Major in the key of G Major |-----| |-----| |-----| |-----| |---2-| |-3---|


The distance between the 1st degree of the scale and the 4th degree = Perfect 4Perfect 4Perfect 4Perfect 4th.th.th.th.. (Also notated P4)

Perfect 4th in the key of G MajorPerfect 4th in the key of G MajorPerfect 4th in the key of G MajorPerfect 4th in the key of G Major

|-----| |-----| |-----| |-----| |---3-| |-3---|

The distance between the 1st degree of the scale and the 5th degree = Perfect 5Perfect 5Perfect 5Perfect 5thththth. (Also notated P5)

Perfect 5Perfect 5Perfect 5Perfect 5thththth in t in t in t in the key of G Major he key of G Major he key of G Major he key of G Major

(this interval makes up the famous power chord)(this interval makes up the famous power chord)(this interval makes up the famous power chord)(this interval makes up the famous power chord) |-----| |-----| |-----| |-----| |---5-| |-3---|


The distance between the 1st degree of the scale and the 6th degree = Major 6Major 6Major 6Major 6thththth. (Also notated M6)

Major 6th in the key of G Major Major 6th in the key of G Major Major 6th in the key of G Major Major 6th in the key of G Major

|-----| |-----| |-----| |---2-| |-----| |-3---|

The distance between the 1st degree of the scale and the 7th degree = Major 7Major 7Major 7Major 7thththth. (Also notated M7)

Major 7th in the key of G MajorMajor 7th in the key of G MajorMajor 7th in the key of G MajorMajor 7th in the key of G Major

|-----| |-----| |-----| |---4-| |-----| |-3---|


The distance between the 1st degree of the scale and the 8th degree = Perfect 8Perfect 8Perfect 8Perfect 8thththth or an octave. (Also notated P8)

Perfect 8th (or an octave) in the key of G MajorPerfect 8th (or an octave) in the key of G MajorPerfect 8th (or an octave) in the key of G MajorPerfect 8th (or an octave) in the key of G Major

|-----| |-----| |-----| |---5-| |-----| |-3---|


Play the following intervals. Play the following intervals. Play the following intervals. Play the following intervals. Say the name of the interval out loud as you play it. Try to remember the sound of the interval. Its a good idea to be able to sing the intervals as well. This will help you internalize

the sound of each interval.

Intervals Found In The Major ScaleIntervals Found In The Major ScaleIntervals Found In The Major ScaleIntervals Found In The Major Scale

Once you understand intervals Once you understand intervals Once you understand intervals Once you understand intervals you can build any chord you want. For example:you can build any chord you want. For example:you can build any chord you want. For example:you can build any chord you want. For example:

G Major 7G Major 7G Major 7G Major 7thththth Chord (also notated GM7) Chord (also notated GM7) Chord (also notated GM7) Chord (also notated GM7) |-------| |-------| |-------| |---4---| (Major 7th) |---2---| (3rd) |---3---| (root


Three different forms of the G major 7Three different forms of the G major 7Three different forms of the G major 7Three different forms of the G major 7thththth chord. chord. chord. chord.

Play each of these.Play each of these.Play each of these.Play each of these.


From From From From ThThThThe e e e Lesson Titled, The Lesson Titled, The Lesson Titled, The Lesson Titled, The Minor ScaleMinor ScaleMinor ScaleMinor Scale

The Natural Minor ScaleThe Natural Minor ScaleThe Natural Minor ScaleThe Natural Minor Scale To make any major scale minor, simply lower the 3rd, 6th and 7th

degrees of the major scale by a step (one fret).

The G Major Scale in one octaveThe G Major Scale in one octaveThe G Major Scale in one octaveThe G Major Scale in one octave


The G Natural Minor Scale in one octaveThe G Natural Minor Scale in one octaveThe G Natural Minor Scale in one octaveThe G Natural Minor Scale in one octave

Another way to play this scale is:


The G Natural Minor Scale in two octavesThe G Natural Minor Scale in two octavesThe G Natural Minor Scale in two octavesThe G Natural Minor Scale in two octaves


The The The The Harmonic Harmonic Harmonic Harmonic Minor ScaleMinor ScaleMinor ScaleMinor Scale To make any natural minor scale, harmonic minor,

simply raise the 7th degree a step (one fret)

The G Harmonic Minor Scale in oThe G Harmonic Minor Scale in oThe G Harmonic Minor Scale in oThe G Harmonic Minor Scale in one octavene octavene octavene octave


The G Harmonic Minor Scale in two octavesThe G Harmonic Minor Scale in two octavesThe G Harmonic Minor Scale in two octavesThe G Harmonic Minor Scale in two octaves


The Melodic MinorThe Melodic MinorThe Melodic MinorThe Melodic Minor Scale Scale Scale Scale

The melodic minor is unique. When you ascend (go up the fretboard) you raise the 6th and 7th degrees. When you descend (go down the fretboard) you lower the 6th and 7th.

However, the 3rd remains lowered going up and down.

Ok, heres what it looks like in tab:

G Melodic Minor Scale in G Melodic Minor Scale in G Melodic Minor Scale in G Melodic Minor Scale in one octaveone octaveone octaveone octave


Most of time when you encounter or use the melodic minor scale, its the Jazz minor scale

which looks exactly like the major scale, except it has a lowered (flat) 3rd.

G Melodic Jazz Minor Scale in G Melodic Jazz Minor Scale in G Melodic Jazz Minor Scale in G Melodic Jazz Minor Scale in two octavestwo octavestwo octavestwo octaves


Minor Intervals Every major interval has a minor counterpart.

You can make any major interval minor by lowering the note a step (one fret). InInInIn the natural minor scale for any key... the natural minor scale for any key... the natural minor scale for any key... the natural minor scale for any key...

The distance between the 1st degree (a.k.a. root) of the scale and the 2nd degree = Major 2Major 2Major 2Major 2ndndndnd.

(Also notated M2)

Major 2Major 2Major 2Major 2ndndndnd in the key of G natural minor in the key of G natural minor in the key of G natural minor in the key of G natural minor |-----| |-----| |-----| |-----| |-----| |-3-5-|

The distance between the 1st degree of the scale and the 3rd degree = Minor 3Minor 3Minor 3Minor 3rdrdrdrd.

(Also notated m3) Minor 3Minor 3Minor 3Minor 3rdrdrdrd in the key of G Natural Minor in the key of G Natural Minor in the key of G Natural Minor in the key of G Natural Minor

|-----| |-----| |-----| |-----| |---2-| |-3---|


The distance between the 1st degree of the scale and the 4th degree = PePePePerfect 4rfect 4rfect 4rfect 4th.th.th.th.. (Also noted P4)

Perfect 4th in the key of G Natural MinorPerfect 4th in the key of G Natural MinorPerfect 4th in the key of G Natural MinorPerfect 4th in the key of G Natural Minor |-----| |-----| |-----| |-----| |---3-| |-3---|

The distance between the 1st degree of the scale and the 5th degree = Perfect 5Perfect 5Perfect 5Perfect 5thththth. (Also notated P5)

Perfect 5Perfect 5Perfect 5Perfect 5thththth in the key of G N in the key of G N in the key of G N in the key of G Natural Minoratural Minoratural Minoratural Minor

((((ThisThisThisThis interval makes up the famous power chord) interval makes up the famous power chord) interval makes up the famous power chord) interval makes up the famous power chord) |-----| |-----| |-----| |-----| |---5-| |-3---|

The distance between the 1st degree of the scale and the 6th degree = Minor 6Minor 6Minor 6Minor 6thththth. (Also notated m6)


Minor 6th in the key of G Natural MinorMinor 6th in the key of G Natural MinorMinor 6th in the key of G Natural MinorMinor 6th in the key of G Natural Minor |-----| |-----| |-----| |---2-| |-----| |-3---|

The distance between the 1st degree of the scale and the 7th degree = Minor 7Minor 7Minor 7Minor 7thththth. (Also notated m7)

Minor 7th in the key of G Natural MinorMinor 7th in the key of G Natural MinorMinor 7th in the key of G Natural MinorMinor 7th in the key of G Natural Minor |-----| |-----| |-----| |---4-| |-----| |-3---|


The distance between the 1st degree of the scale and the 8th degree = Perfect 8Perfect 8Perfect 8Perfect 8thththth or an octave. (Also notated P8)

Perfect 8th (or an octave) in the key of G Natural MinorPerfect 8th (or an octave) in the key of G Natural MinorPerfect 8th (or an octave) in the key of G Natural MinorPerfect 8th (or an octave) in the key of G Natural Minor

|-----| |-----| |-----| |---5-| |-----| |-3---|

**Note: The smallest interval on the fretboard is a minor 2nd. Heres an example of a minor 2nd:

Minor second from the note G:Minor second from the note G:Minor second from the note G:Minor second from the note G: |-------| |-------| |-------| |-------| |-------| |---3-4-|

**Note: The minor second does NOT occur naturally in any of the major or minor keys. It only occurs

naturally in two of the seven modes (Phrygian and Locrian).


Play the following intervals. Play the following intervals. Play the following intervals. Play the following intervals. Say the name of the interval out loud as you play it. Try to remember the sound of the

interval. Its a good idea to be able to sing the intervals as well. This will help you internalize the sound of each interval.

Intervals Found In The NaturalIntervals Found In The NaturalIntervals Found In The NaturalIntervals Found In The Natural Minor ScaleMinor ScaleMinor ScaleMinor Scale

Once you understand intervals you can build any chord you want.Once you understand intervals you can build any chord you want.Once you understand intervals you can build any chord you want.Once you understand intervals you can build any chord you want.

For example: G Major 7G Major 7G Major 7G Major 7thththth Chord (also notated GM7) Chord (also notated GM7) Chord (also notated GM7) Chord (also notated GM7)

|-------| |-------| |-------| |---4---| |---2---| |---3---|


From The Lesson Titled, From The Lesson Titled, From The Lesson Titled, From The Lesson Titled,

Creating Chords Using Intervalsreating Chords Using Intervalsreating Chords Using Intervalsreating Chords Using Intervals

What you need to know about chords:What you need to know about chords:What you need to know about chords:What you need to know about chords:

Chords usChords usChords usChords usually consist of at least three notes.ually consist of at least three notes.ually consist of at least three notes.ually consist of at least three notes.

Every chord must have the root.Every chord must have the root.Every chord must have the root.Every chord must have the root. In other words, the chord has to have the note that its

named after.

For example, if its a G7, it must contain a G note somewhere in the chord.

Every chord must have the 3Every chord must have the 3Every chord must have the 3Every chord must have the 3rd rd rd rd (except power chords).

This interval tells you if the chord is Major or Minor.

Without the 3rd you wouldnt know.

If the chord is notatedIf the chord is notatedIf the chord is notatedIf the chord is notated with a 7 with a 7 with a 7 with a 7thththth (e.g., G7, GM7, etc.) it must contain the seventh (e.g., G7, GM7, etc.) it must contain the seventh (e.g., G7, GM7, etc.) it must contain the seventh (e.g., G7, GM7, etc.) it must contain the seventh.


Quick Reference Guide Quick Reference Guide Quick Reference Guide Quick Reference Guide For Interpreting Chord Symbolsor Interpreting Chord Symbolsor Interpreting Chord Symbolsor Interpreting Chord Symbols

WrittenWrittenWrittenWritten PronouncedPronouncedPronouncedPronounced Always has these intervalsAlways has these intervalsAlways has these intervalsAlways has these intervals ExampleExampleExampleExample

G G chord Root, Major 3rd |---3---| (optional) |---0---| (optional) |---4---| (Major 3rd, B) |---5---| (octave, G) |---5555---| (5th ,D) |---3333---| (root, G)

G5 (G Power Chord)

G five Root, 5th |---X---| |---X---| |---X---| |---X---| |---5555---| (5th ,D) |---3333---| (root, G)


G7 Dominant 7 Root, Major 3rd, Minor 7th

|---3---| (optional) |---3---| (optional) |---4444---| (Major 3rd, B) |---3333---| (minor 7th, F) |---5555---| (optional, 5th ,D,) |---3333---| (root, G)

GM7 G Major 7 Root, Major 3rd, Major 7th

|---3---| (optional) |---3---| (optional) |---4444---| (Major 3rd, B) |---4444---| (Major 7th, F) |---5555---| (optional, 5th ,D,) |---3333---| (root, G)

GmM7 G minor, major 7

Root, Minor 3rd, Major 7th

|---3---| (optional) |---3---| (optional) |---3333---| (Minor 3rd, B) |---4444---| (Major 7th, F) |---5555---| (optional, 5th ,D,) |---3333---| (root, G)


Other chords discussed in the Creating Chords Using Intervals section:Other chords discussed in the Creating Chords Using Intervals section:Other chords discussed in the Creating Chords Using Intervals section:Other chords discussed in the Creating Chords Using Intervals section:


From The Lesson Titled, From The Lesson Titled, From The Lesson Titled, From The Lesson Titled, Practicing ConceptsPracticing ConceptsPracticing ConceptsPracticing Concepts

The G Natural Minor Scale in two octavesThe G Natural Minor Scale in two octavesThe G Natural Minor Scale in two octavesThe G Natural Minor Scale in two octaves


The G Harmonic Minor Scale in two octavesThe G Harmonic Minor Scale in two octavesThe G Harmonic Minor Scale in two octavesThe G Harmonic Minor Scale in two octaves


G Melodic Jazz Minor Scale in two octavesG Melodic Jazz Minor Scale in two octavesG Melodic Jazz Minor Scale in two octavesG Melodic Jazz Minor Scale in two octaves


Tab For G Harmonic Minor SoloTab For G Harmonic Minor SoloTab For G Harmonic Minor SoloTab For G Harmonic Minor Solo


The Natural Minor ScaleThe Natural Minor ScaleThe Natural Minor ScaleThe Natural Minor Scale

Just as with the major scale there are seven notes, the same is true with the minor scales. Ive given you all seven positions of the natural minor scalenatural minor scalenatural minor scalenatural minor scale in the key of G natural minor. There is no special significance to why I chose this key. I had to choose one to give you as an example. But thats all it is: an example. What you really what to pay special attention to is the movable patternsmovable patternsmovable patternsmovable patterns. Because once you master those and understand how they relate to each other, the sky really is the limit. Youll be able to play the natural minor in any key, any place on the fretboard! Practice each position with the tab thats been given. Then take the movable pattern for each position and try starting on a different note. Start memorizing all seven patterns for each position. This will allow you to start moving all over the fretboard with your improvisations. As you practice, try to think of what scale degree youre starting on. This will help you to relate the movable pattern with the position number.


G Natural MinorG Natural MinorG Natural MinorG Natural Minor Scale In All Seven Positions Scale In All Seven Positions Scale In All Seven Positions Scale In All Seven Positions

Movable Pattern 1Movable Pattern 1Movable Pattern 1Movable Pattern 1, Natural Minor: Aeolian Mode, Natural Minor: Aeolian Mode, Natural Minor: Aeolian Mode, Natural Minor: Aeolian Mode


G minor, 1G minor, 1G minor, 1G minor, 1stststst position position position position: G Aeol: G Aeol: G Aeol: G Aeolian Modeian Modeian Modeian Mode


Movable Pattern 2Movable Pattern 2Movable Pattern 2Movable Pattern 2, Natural Minor: Locrian Mode, Natural Minor: Locrian Mode, Natural Minor: Locrian Mode, Natural Minor: Locrian Mode


G minor, 2G minor, 2G minor, 2G minor, 2ndndndnd position position position position: A Locrian Mode: A Locrian Mode: A Locrian Mode: A Locrian Mode


Movable Pattern 3Movable Pattern 3Movable Pattern 3Movable Pattern 3, Natural Minor: , Natural Minor: , Natural Minor: , Natural Minor: Ionian Ionian Ionian Ionian ModeModeModeMode


G minor, 3G minor, 3G minor, 3G minor, 3rdrdrdrd position position position position: Bb Ionian (same as 1: Bb Ionian (same as 1: Bb Ionian (same as 1: Bb Ionian (same as 1stststst position Bb major) position Bb major) position Bb major) position Bb major)


Movable Pattern 4Movable Pattern 4Movable Pattern 4Movable Pattern 4, Natur, Natur, Natur, Natural Minor: Dorian Mode al Minor: Dorian Mode al Minor: Dorian Mode al Minor: Dorian Mode


G minor, 4G minor, 4G minor, 4G minor, 4ththththpositionpositionpositionposition: C Dorian Mode: C Dorian Mode: C Dorian Mode: C Dorian Mode


Movable Pattern 5Movable Pattern 5Movable Pattern 5Movable Pattern 5, Natural , Natural , Natural , Natural Minor: Phrygian ModeMinor: Phrygian ModeMinor: Phrygian ModeMinor: Phrygian Mode


G minor, 5G minor, 5G minor, 5G minor, 5ththththpositionpositionpositionposition: D Phrygian Mode: D Phrygian Mode: D Phrygian Mode: D Phrygian Mode


Movable Pattern 6Movable Pattern 6Movable Pattern 6Movable Pattern 6, Natural Minor: Lydian Mode, Natural Minor: Lydian Mode, Natural Minor: Lydian Mode, Natural Minor: Lydian Mode


G minor, 6G minor, 6G minor, 6G minor, 6ththththpositionpositionpositionposition: Eb Lydian Mode: Eb Lydian Mode: Eb Lydian Mode: Eb Lydian Mode


Movable Pattern 7Movable Pattern 7Movable Pattern 7Movable Pattern 7, Natural Minor: Mixolydian Mode, Natural Minor: Mixolydian Mode, Natural Minor: Mixolydian Mode, Natural Minor: Mixolydian Mode


G minor, 7G minor, 7G minor, 7G minor, 7ththththpositionpositionpositionposition: F Mixolydia: F Mixolydia: F Mixolydia: F Mixolydian Moden Moden Moden Mode


The Harmonic Minor ScaleThe Harmonic Minor ScaleThe Harmonic Minor ScaleThe Harmonic Minor Scale

Just as with the major scale there are seven notes, the same is true with the minor scales. Ive given you all seven positions of the harmonic minor scaleharmonic minor scaleharmonic minor scaleharmonic minor scale in the key of G harmonic minor. There is no special significance to why I chose this key. I had to choose one to give you as an example. But thats all it is: an example. What you really what to pay special attention to is the movable patternsmovable patternsmovable patternsmovable patterns. Because once you master those and understand how they relate to each other, the sky really is the limit. Youll be able to play the harmonic minor in any key, any place on the fretboard! Practice each position with the tab thats been given. Then take the movable pattern for each position and try starting on a different note. Start memorizing all seven patterns for each position. This will allow you to start moving all over the fretboard with your improvisations. As you practice, try to think of what scale degree youre starting on. This will help you to relate the movable pattern with the position number.


Movable Pattern 1Movable Pattern 1Movable Pattern 1Movable Pattern 1, Harmonic Minor, Harmonic Minor, Harmonic Minor, Harmonic Minor


G harmonic minor, 1G harmonic minor, 1G harmonic minor, 1G harmonic minor, 1stststst position position position position


G harmonic minor, 2G harmonic minor, 2G harmonic minor, 2G harmonic minor, 2ndndndnd position position position position


G harmonic minor, 3G harmonic minor, 3G harmonic minor, 3G harmonic minor, 3rdrdrdrd posi posi posi positiontiontiontion


G harmonic minor, 4G harmonic minor, 4G harmonic minor, 4G harmonic minor, 4ththththpositionpositionpositionposition


Movable PatternMovable PatternMovable PatternMovable Pattern 5 5 5 5, Harmonic Minor (Spanish Phrygian Mode), Harmonic Minor (Spanish Phrygian Mode), Harmonic Minor (Spanish Phrygian Mode), Harmonic Minor (Spanish Phrygian Mode)


The Melodic Minor ScThe Melodic Minor ScThe Melodic Minor ScThe Melodic Minor Scalealealeale Just as with the major scale there are seven notes, the same is true with the minor scales. Ive given you all seven positions of the jazz minor scalejazz minor scalejazz minor scalejazz minor scale in the key of G jazz minor. There is no special significance to why I chose this key. I had to choose one to give you as an example. But thats all it is: an example. What you really what to pay special attention to is the movable patternsmovable patternsmovable patternsmovable patterns. Because once you master those and understand how they relate to each other, the sky really is the limit. Youll be able to play the jazz minor in any key, any place on the fretboard! Practice each position with the tab thats been given. Then take the movable pattern for each position and try starting on a different note. Start memorizing all seven patterns for each position. This will allow you to start moving all over the fretboard with your improvisations. As you practice, try to think of what scale degree youre starting on. This will help you to relate the movable pattern with the position number.


Movable PaMovable PaMovable PaMovable Pattern 1ttern 1ttern 1ttern 1: Melodic Minor: Melodic Minor: Melodic Minor: Melodic Minor


G minor, 1G minor, 1G minor, 1G minor, 1stststst position position position position: Melodic Minor Mode: Melodic Minor Mode: Melodic Minor Mode: Melodic Minor Mode


Movable Pattern 2Movable Pattern 2Movable Pattern 2Movable Pattern 2: Dorian b2 (flat 2) Mode : Dorian b2 (flat 2) Mode : Dorian b2 (flat 2) Mode : Dorian b2 (flat 2) Mode

This mode is exactly like the Dorian mode, except the 2nd degree is lowered step. The arrows point to the lowered 2nd (or flat two).

Flat 2

Flat 2


G minor, 2G minor, 2G minor, 2G minor, 2ndndndnd position position position position: A Dorian b2: A Dorian b2: A Dorian b2: A Dorian b2


Movable Pattern 3Movable Pattern 3Movable Pattern 3Movable Pattern 3: Lydian Augmented Mode: Lydian Augmented Mode: Lydian Augmented Mode: Lydian Augmented Mode

This mode is exactly like the Lydian mode, except the 5th degree is raised step (augmented). The arrows point to the augmented 5th.

Augmented 5th


G minor, 3G minor, 3G minor, 3G minor, 3rdrdrdrd position position position position: Bb Lydian Augme: Bb Lydian Augme: Bb Lydian Augme: Bb Lydian Augmentedntedntednted


Movable Pattern 4Movable Pattern 4Movable Pattern 4Movable Pattern 4: Lydian Dominant Mode: Lydian Dominant Mode: Lydian Dominant Mode: Lydian Dominant Mode

This mode is exactly like the Lydian mode, except the 7th degree is lowered step. The 1st, 3rd, and 7th degrees of this mode create a dominant 7th chord. This is why its called Lydian Dominant.

Flat 7th.


G minor, 4G minor, 4G minor, 4G minor, 4ththththpositionpositionpositionposition: C Lydian Dominant: C Lydian Dominant: C Lydian Dominant: C Lydian Dominant


Movable Pattern 5Movable Pattern 5Movable Pattern 5Movable Pattern 5:::: Mixolydian b6 (flat 6)Mixolydian b6 (flat 6)Mixolydian b6 (flat 6)Mixolydian b6 (flat 6)

This mode is exactly like the Mixolydian mode, except the 6th degree is lowered step. This is why its called Mixolydian Flat 6.

Flat 6th.


G minor, 5G minor, 5G minor, 5G minor, 5ththththpositionpositionpositionposition: D Mixolydian b6: D Mixolydian b6: D Mixolydian b6: D Mixolydian b6


Movable Pattern 6Movable Pattern 6Movable Pattern 6Movable Pattern 6: Locrian #2 (sharp 2): Locrian #2 (sharp 2): Locrian #2 (sharp 2): Locrian #2 (sharp 2)

This mode is exactly like the Locrian mode, except the 2nd degree is raised step. This is why its called Locrian #2.

Raised 2nd

Raised 2nd


G jazz minor, G jazz minor, G jazz minor, G jazz minor, 6666ththththpositionpositionpositionposition: : : : E E E E Locrian #2Locrian #2Locrian #2Locrian #2


Movable Pattern 7Movable Pattern 7Movable Pattern 7Movable Pattern 7: Super Locrian (Altered Mode): Super Locrian (Altered Mode): Super Locrian (Altered Mode): Super Locrian (Altered Mode)

This mode is exactly like the Locrian mode, except the 4th degree is diminished (lowered step). This is why its called

Diminished 4th.


G jazz minor, 7G jazz minor, 7G jazz minor, 7G jazz minor, 7ththththpositionpositionpositionposition: F# Altered Mode: F# Altered Mode: F# Altered Mode: F# Altered Mode


From From From From The The The The Lesson Titled, The Lesson Titled, The Lesson Titled, The Lesson Titled, The ModesModesModesModes About the ModesAbout the ModesAbout the ModesAbout the Modes And entire course could probably be built around just exploring the modes in detail. But, for our purposes, we can make it simple... The Modes are unique scales which are actually a combination of major and minor scales. (Actually the modes existed BEFORE the major/minor scales. They come from Gregorian chant, which has been used in the Catholic Liturgical services since Pope St. Gregory The Great who died in the 604A.D. The major/minor scales came along hundreds of years later -- but thats another discussion altogether). In any case, what you need to understand is two thiIn any case, what you need to understand is two thiIn any case, what you need to understand is two thiIn any case, what you need to understand is two things: ngs: ngs: ngs: 1.1.1.1. Each mode corresponds to a specific position of the major scale (see the table below to see which modes go with which positions).

2.2.2.2. The modes can be transposed to any key. For example you can have G Dorian, F Dorian, E Dorian, etc.


How To TranspoHow To TranspoHow To TranspoHow To Transpose The Modes Into Any Kese The Modes Into Any Kese The Modes Into Any Kese The Modes Into Any Keyyyy

Example:Example:Example:Example: Movable Pattern For Dorian Mode (position 2 of major scale)Movable Pattern For Dorian Mode (position 2 of major scale)Movable Pattern For Dorian Mode (position 2 of major scale)Movable Pattern For Dorian Mode (position 2 of major scale)

|----------------------------------------------------------| |----------------------------------------------------------| |----------------------------------------------------------| |----------------------------------------------------------| |----------------------------------------------------------| |-----5-----7-----9-----11-----13-----15-----17-----19-----|

If you start pattern on A, you get Dorian on A.

If you start pattern on F, you get Dorian on F. If you start pattern on C#,

you get Dorian on C#.

This same concept is true for all the modal patterns. If you start the Phrygian modal pattern on E (12th fret, 6th string), you get E Phrygian. If you start the modal pattern for Lydian on G, you get G Lydian. If you start A, you get A Lydian. The point is, the modes can be played on ANY note on the fretboard.


Note: Ionian mode = any major scale in first position

Ionian mode on GIonian mode on GIonian mode on GIonian mode on G


Movable PatternMovable PatternMovable PatternMovable Pattern For Ionian For Ionian For Ionian For Ionian


Dorian mode on GDorian mode on GDorian mode on GDorian mode on G


Movable PatternMovable PatternMovable PatternMovable Pattern For Dorian For Dorian For Dorian For Dorian


Phrygian mode on GPhrygian mode on GPhrygian mode on GPhrygian mode on G


Movable PatternMovable PatternMovable PatternMovable Pattern For For For For PhrygianPhrygianPhrygianPhrygian


Lydian mode on GLydian mode on GLydian mode on GLydian mode on G


Movable PatMovable PatMovable PatMovable Patternternterntern For For For For LydianLydianLydianLydian


MixolMixolMixolMixolydian mode on Gydian mode on Gydian mode on Gydian mode on G


Movable PatternMovable PatternMovable PatternMovable Pattern For For For For MixolMixolMixolMixolydianydianydianydian


AeolAeolAeolAeolian mode on Gian mode on Gian mode on Gian mode on G (Natural Minor Scale) (Natural Minor Scale) (Natural Minor Scale) (Natural Minor Scale)


Movable PatternMovable PatternMovable PatternMovable Pattern For For For For AeolAeolAeolAeolianianianian


LLLLocrocrocrocrian mode on Gian mode on Gian mode on Gian mode on G


Movable PatternMovable PatternMovable PatternMovable Pattern For For For For LLLLocrocrocrocrianianianian


From TFrom TFrom TFrom The Lesson Titled, he Lesson Titled, he Lesson Titled, he Lesson Titled, Barre Barre Barre Barre Chords

G Major Barre Chord G Major Barre Chord G Major Barre Chord G Major Barre Chord ---- GGGG Minor Barre Chord Minor Barre Chord Minor Barre Chord Minor Barre Chord ---- AAAA Dominant Dominant Dominant Dominant 7777th Barre Chord th Barre Chord th Barre Chord th Barre Chord ---- A Major 7th Barre Chord A Major 7th Barre Chord A Major 7th Barre Chord A Major 7th Barre Chord

(Symbols: (Symbols: (Symbols: (Symbols: G, Gmaj, GMG, Gmaj, GMG, Gmaj, GMG, Gmaj, GM) (Symbols: Gm, Gmin) ) (Symbols: Gm, Gmin) ) (Symbols: Gm, Gmin) ) (Symbols: Gm, Gmin) (Symbols: A7, Adom7) (Symbols: A7, Adom7) (Symbols: A7, Adom7) (Symbols: A7, Adom7) (Symbols: (Symbols: (Symbols: (Symbols: AM7, Amaj7AM7, Amaj7AM7, Amaj7AM7, Amaj7))))

Sample Chord Progressions Using Barre Chords:Sample Chord Progressions Using Barre Chords:Sample Chord Progressions Using Barre Chords:Sample Chord Progressions Using Barre Chords:

Play each of the following examples. This will give you a practical understanding of how barre chords are

used. Dont worry if you find making barre chords difficult at first. They are. Practice your fingers

strength exercises each day, as well as your scales to help build the strength of your fingers. Then practice

your barre chord using the examples below. It may take a while, but you will be playing these chords in a

very short time!


Example 1:

Example 2


Example 3


Example 4Example 4Example 4Example 4


From The Lesson Titled, From The Lesson Titled, From The Lesson Titled, From The Lesson Titled, Pentatonic ScalesPentatonic ScalesPentatonic ScalesPentatonic Scales A Major A Major A Major A Major Pentatonic Pentatonic Pentatonic Pentatonic ScaleScaleScaleScale


Movable PatternMovable PatternMovable PatternMovable Pattern 1: Pentatonic Major 1: Pentatonic Major 1: Pentatonic Major 1: Pentatonic Major

Use The A Major Pentatonic Scale Over This Chord ProgressionUse The A Major Pentatonic Scale Over This Chord ProgressionUse The A Major Pentatonic Scale Over This Chord ProgressionUse The A Major Pentatonic Scale Over This Chord Progression

Start on the 5th fret for A Major.


A Minor Pentatonic ScaleA Minor Pentatonic ScaleA Minor Pentatonic ScaleA Minor Pentatonic Scale


MovabMovabMovabMovable Patternle Patternle Patternle Pattern: Pentatonic Minor: Pentatonic Minor: Pentatonic Minor: Pentatonic Minor

Use The A Minor Pentatonic Scale Over This Chord ProgressionUse The A Minor Pentatonic Scale Over This Chord ProgressionUse The A Minor Pentatonic Scale Over This Chord ProgressionUse The A Minor Pentatonic Scale Over This Chord Progression

Start on the 5th fret for A Pentatonic Minor.


Blues Pentatonic ScaleBlues Pentatonic ScaleBlues Pentatonic ScaleBlues Pentatonic Scale GGGG Blues Pentatonic Scale Blues Pentatonic Scale Blues Pentatonic Scale Blues Pentatonic Scale


Movable PatternMovable PatternMovable PatternMovable Pattern: Blues Pentatonic: Blues Pentatonic: Blues Pentatonic: Blues Pentatonic Scale Scale Scale Scale

The flatted 5th is the ONLY difference between the Blues Pentatonic and the Pentatonic Minor. This diminished 5th gives this scale its blues quality.

Diminished 5th

Start on the 3rd fret, 6th string for G Blues Pentatonic.


Use The GUse The GUse The GUse The G Blues Blues Blues Blues Pentatonic Scale Over This ChorPentatonic Scale Over This ChorPentatonic Scale Over This ChorPentatonic Scale Over This Chord Progressiond Progressiond Progressiond Progression


Transcription of Solo at End of Pentatonic Scales sectionTranscription of Solo at End of Pentatonic Scales sectionTranscription of Solo at End of Pentatonic Scales sectionTranscription of Solo at End of Pentatonic Scales section


What you should know about the Blues Pentatonic Scale:What you should know about the Blues Pentatonic Scale:What you should know about the Blues Pentatonic Scale:What you should know about the Blues Pentatonic Scale:

Its based on the minor pentatonic scale. So, once youve got the Minor Pentatonic memorized,

youre just a very short step away from being able to play the Blues Pentatonic.

The only difference between the Minor Pentatonic and the Blues Pentatonic is this: the Blues Pentatonic scale has one extra note, the diminished 5th. This one little note is what gives it a unique blues sound.

There are actually several different versions of the Blues Pentatonic scale (often just referred to as the Blues Scale).

The Blues Scale comes from the pentatonic minor scale, which comes from the natural minor scale.

The diminished 5th is considered a passing tones. This note pulls the ear toward the destination note (the 5th). Since passing tones are just notes which help you get to the main note, there is no specific position for this note. (Confused? Dont worry! Youll catch on once you start playing the Blues Scale over some chords.)


Understanding how the Natural Minor, Pentatonic Scale Understanding how the Natural Minor, Pentatonic Scale Understanding how the Natural Minor, Pentatonic Scale Understanding how the Natural Minor, Pentatonic Scale and the Blues Scale relate:and the Blues Scale relate:and the Blues Scale relate:and the Blues Scale relate:

Scale NameScale NameScale NameScale Name Notes For Scale Notes For Scale Notes For Scale Notes For Scale Based on ABased on ABased on ABased on A

Scale DegreesScale DegreesScale DegreesScale Degrees Example TabExample TabExample TabExample Tab

A Natural Minor Scale A, B, C, D, E, F, G 1, 2, b3, 4, 5, b6,b 7 ||||------------------------------------------------------------------------------------------------5555----7777----8888----|||| ||||----------------------------------------------------------------------------5555----6666----8888------------------------|||| ||||--------------------------------------------------------4444----5555----7777--------------------------------------------|||| ||||--------------------------------------------5555----7777----------------------------------------------------------------|||| ||||------------------------5555----7777----8888----------------------------------------------------------------------------|||| ||||----5555----7777----8888------------------------------------------------------------------------------------------------||||

A Minor Pentatonic A, , C, D, E, , G 1, , b3, 4, 5, , b7 ||||----------------------------------------------------------------5555----8888----|||| ||||----------------------------------------------------5555----8888----------------|||| ||||----------------------------------------5555----7777----------------------------|||| ||||----------------------------5555----7777----------------------------------------|||| ||||----------------5555----7777----------------------------------------------------|||| ||||----5555----8888----------------------------------------------------------------||||

A Blues Pentatonic with flat 5 (most common form)

A, , C, D, Eb, E, , G 1, , b3, 4, b5, 5, b7 ||||--------------------------------------------------------------------------------5555----8888----|||| ||||--------------------------------------------------------------------5555----8888----------------|||| ||||------------------------------------------------5555----7777----8888----------------------------|||| ||||------------------------------------5555----7777------------------------------------------------|||| ||||----------------5555----6666----7777------------------------------------------------------------|||| ||||----5555----8888--------------------------------------------------------------------------------||||

A Blues Pentatonic with flat 5 and raised 7

A, , C, D, Eb, E, G, G# 1, , b3, 4, b5, 5, b7, 7 ||||------------------------------------------------------------------------------------------------5555----8888----|||| ||||----------------------------------------------------------------------------5555----8888----9999----------------|||| ||||--------------------------------------------------------5555----7777----8888------------------------------------|||| ||||------------------------------------5555----6666----7777--------------------------------------------------------|||| ||||----------------5555----6666----7777----------------------------------------------------------------------------|||| ||||----5555----8888------------------------------------------------------------------------------------------------||||


From The Lesson Titled, From The Lesson Titled, From The Lesson Titled, From The Lesson Titled, CAGED Minor ChorCAGED Minor ChorCAGED Minor ChorCAGED Minor Chordsdsdsds


ConclusionConclusionConclusionConclusion

I hope youve enjoyed exploring the guitar during this course. Keep in mind that these concepts take a while to incorporate into your daily playing. You need to be patient with yourself. Go slowly. Step-by-step. Dont get frustrated if you cant make a certain chord or play a certain scale. Just keep working at it. Your determination is absolutely essential to your long-term success as a guitarist. Many people just want to learn the quick and easy way. Well, I hate to break the news to you... but honestly, there is no quick and easy way. Learning to play the guitar is labor of love. Youve got to want to learn. Youve got to have the will to make progress. And youve got to make the time to practice.

How important is talent?How important is talent?How important is talent?How important is talent? Thats a great question. And Im not sure I really know the answer. What I do know is that Ive seen a lot of musicians (not just guitarists) who were mega-talented, but never amounted to anything. Why? Well, because they were missing the most important ingredient... determination. In fact, if I had to choose between talent and determination, Id take determination any day. Now, it doesnt hurt to have both. But heres the point: you can go a long, long way with your playing if you have only a smidgeon of talent and big, heaping portion of determination. Ive seen far too many super-talented musicians who were just plain lazy, who had all the talent in the world, but no self-discipline who have all but given up playing altogether. On the other hand, Ive seen people with only a small amount of talent but who worked their fannies off, go places. Big places, under the lights in front of 10,000 screaming fans.


Heres a true story about lack of talentHeres a true story about lack of talentHeres a true story about lack of talentHeres a true story about lack of talent When I was a mere seventeen years of age I played in a rock band. Three of the four members of the band were classically trained. I had taken classical piano from the age of five, and I also studied operatic voice. The lead guitarist in my band had studied classical guitar at the Howard Vance Guitar Academy from the age of six. He was a brilliant musician. The drummer played Beethoven sonatas and Chopin etudes in his spare time. He went on to study at the collegiate level. And the bassist? Well, he was just one of those guys who practiced about four hours a day. He could play anything. And I mean anything. Any style, any genre, any lick. We were tight. I mean we practiced about three times a week. And we played the other days. We played every major venue in Memphis at the time, including a regular spot at the New Daisy Theater on world-famous Beale Street. It was a blast. We had a loyal following. Wrote ninety percent of our songs. We were one of the hottest bands in town at the time (especially for a bunch of high-school kids). We also played school dances (mostly for the money). We were, in our little world, big time. We had various bands open for us. But there was one band that I remember in particular. Boy, we gave them a tough time. They all kind of looked up to us. (Even though they were older). I suppose it was that whole superior musician thing. My guess is that they were somewhat intimidated by the fact that we were not just a bunch of rockers. We were, for all intents and purposes, real, trained, semi-professional musicians. And all of us planned to make music our career.


Im ashamed to say that I remember sitting back stage as this band was opening for us. We would just sit back and laugh. And I mean laugh hard. We hated their songs. We thought their guitar solos were horrible. The singer couldnt sing. The guitarist knew about five chords. The drummer was terrible. We had a name for this band... the anti-talents. We were ruthless to these guys (behind their back, of course). Anyway, time went on. My band eventually broke up. We went our separate ways. And life moved on. Fast forward four years. I had recently married. And my wife and I were at a prominent outdoor shopping mall in one of the ritziest areas of town. As we strolled past this record store, a poster caught my eye. I looked up in amazement. I couldnt even speak. I couldnt move. I just stood there. In shock. My world was spinning. I wouldnt have been more surprised if someone would have thrown a brick in my face. As I stared at the poster of these rockers, mostly dressed in black, earrings, makeup and the whole bit, a flood of memories came rushing upon me. I was stunned. It was the band that used to open for us. The guys we had made fun of for years. The guys we called the anti-talents. Their faces were plastered all over one the biggest music stores in town. Their newly-released album was stacked fifteen deep inside the store. They had made it.


I still remember that day, like yesterday. I had a profound effect on me. And taught me several of lifes lessons. Mostly, it showed me that the will to succeed is a very powerful force.

Final thoughtsFinal thoughtsFinal thoughtsFinal thoughts Now, Im not one of these motivational guys that puts on a headset, runs up on stage and screams that if you just think long enough, try hard enough and work hard enough you can do anything. Personally speaking, I think a lot of that is just plain pooh-pooh. But I will admit this: when it comes to guitar, how far you go is largely (notice I didnt say, entirely) up to you. Think about it. How many hours do you think Joe Satriani spent playing the major scale in all seven positions before he was able to solo over the entire fret board? How many years to you think it took Steve Vai to be able to play a solo in any key, at any time? How long do you think it took Eric Johnson to memorize the pentatonic major, pentatonic minor and pentatonic blues scales in all keys so that he could play blistering arpeggios? And how many hours a day would you guess Yngwie Malmsteen practiced when he was learning? To ask these questions, is really to answer them. We both know that these guys spent literally countless hours honing their skills. But the point I want to make is that none of them, even as talented as they all are, would have become the guitarists they are today without a truck-load of self-discipline and bitter determination. They are great largely because the decided that they were going to maximize their God-given abilities. But without a whole lot of hard work, they would have never become the guitar legends they are today. Now, Im not saying that you necessarily want to be guitar legend. Maybe you just want to play a few chords on your acoustic on a Sunday afternoon. And thats great. But you still have to learn the chords.


You still have to get your guitar out. You still have to make a decision between the TV and your guitar the other nights of the week. So, if I could encourage you do just one thing, its this: make a firm commitment. Whatever your goal is, just make a commitment to achieve it. But it goes farther than just hoping. In fact, it has a lot more to do with doing than just hoping. You see, you can think about playing your favorite song, or you can go get you dang guitar and try to figure it out. You can hope that youll learn how to play solos, but unless you practice and teach yourself the scales, you

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