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Guitar On the Spot IIICommanding the Code
Jesse HuntCopyright 2006 On the Spot Publishing
All Rights Reserved
Guitar On the Spot IIICommanding the Code
Jesse HuntCopyright 2006 On the Spot Publishing
All Rights Reserved
3 GUITAR ON THE SPOT III - COMMANDING THE CODE
Dear Friend,
In Guitar On the Spot II - Expanding the Code you learned how to use the notes in between the code (the expanded code) to add more flavor to your songs and solos. In Guitar On the Spot III - Commanding the Code you’ll discover how to use six new codes within the expanded code to set different moods for your songs.
When you learn these new codes it becomes way easier to mix keys and keep track of where your song is going.
In Part I you’ll discover the difference between happy keys and sad keys and how to add variety to your songs by mixing these two types of keys.
In Part 2 you’ll set different moods for your songs by using the different codes. Then you’ll learn how to change moods in the middle of your song by switching between codes. After you discover these new codes, you’ll start to notice how musicians use them in their songs and this will make it easier for you to figure out how to play those songs.
Part 3 summarizes this book in one diagram called Jesse’s Detailed BIG Picture.
If you have any questions or comments please e-mail me at: [email protected]. I’d love to hear from you.
Have fun!
Jesse
Introduction
4 GUITAR ON THE SPOT III - COMMANDING THE CODE
Guitar On the Spot IIICommanding the Code
CONTENTS
Introduction - Note from Jesse 2
PART 1ADD VARIETY TO YOUR SONGS
BY MIXING KEYS
Chapter 1 - How to Switch Keys in the Middle of Your Song 6Chapter 2 - Happy Keys and Sad Keys 9Chapter 3 - How to Mix Chords From Different Keys 19Chapter 4 - How to Make Up Solos in Sad Keys 26 Chapter 5 - How Make Up Songs, Solos and Riffs Using Jesse’s BIG Picture for Sad Keys 40Chapter 6 - Sad Key Variations 50
PART 2DISCOVER THE SEVEN MOODS
Chapter 7 - Explore Seven Different Worlds of Songs 54Chapter 8 - The Seven Moods 62Chapter 9 - Change Moods in the Middle of Your Songs 83Chapter 10 - How to Make Up Solos In Different Moods 88Chapter 11 - How to Make Up Songs, Solos and Riffs in Different Moods Using Jesse’s Seven BIG Pictures for Moods 106
PART 3JESSE’S DETAILED BIG PICTURE
Chapter 12 - Jesse’s Detailed BIG Picture 123
Add Variety To Your Songs By Mixing Keys
Part 1
6 GUITAR ON THE SPOT III - COMMANDING THE CODE
How to Switch Keys in the Middle of Your Song
CHAPTER
1
SWITCHING KEYS
There are two common ways to switch keys in the middle of a song: 1. Switch keys abruptly. 2. Use a common chord shared between two keys to link them.
Switching keys abruptly is easy. Just start playing in a different key and then decide if you like the change.
Using a chord to link to two keys creates a smooth transition.
In the next example, you’ll use the chords G Major and E minor to switch between the keys of D and C. You can see how these two chords are in both keys in Jesse’s Easy Chord Chart (from Guitar On the Spot - Understanding the Code) on the next page.
HOW TO SWITCH KEYS IN THE MIDDLE OF YOUR SONG 7
SWITCH KEYS BY USING COMMON CHORDS
Jesse’s Easy Chord ChartThe Seven Chords in Five Major Keys
Key of A
Key of C
Key of D
Key of E
Key of G
A Major B minor D Major E MajorC#/DH minor F#/GH minor G#/AH diminished
C Major D minor E minor F Major G Major A minor
D Major E minor F#/GH minor G Major A Major B minor
E Major F#/GH minor G#/AH minor A Major B Major C#/DH minor
G Major A minor B minor C Major D Major E minor
B diminished
C#/DH diminished
D#/EH diminished
F#/GH diminished
VIm VIIoVIVIIImIImIX 0 1 2 3 0 X 1 3 4 2 1 X X 0 1 3 2 0 2 3 1 0 0X 1 3 4 2 1 1 3 4 1 1 1 1 2 3 1 X X
X 3 2 0 1 0 X X 0 2 3 1 0 2 3 0 0 0 1 3 4 2 1 1 2 1 0 0 0 3 X 0 2 3 1 0
X X 0 1 3 2 0 2 3 0 0 0 1 3 4 1 1 1 2 1 0 0 0 3 X 0 1 2 3 0 X 1 3 4 2 1
0 2 3 1 0 0 1 3 4 1 1 1 1 3 4 1 1 1 X 0 1 2 3 0 X 1 3 3 3 XX(
1 2 3 4 1) X 1 3 4 2 1
2 1 0 0 0 3 X 0 2 3 1 0 X 1 3 4 2 1 X 3 2 0 1 0 X X 0 1 3 2 0 2 3 0 0 0
X 1 2 4 3 X
X 1 2 4 3 X
X X 1 2 4 3
1 2 3 1 X X
2 fr 4 fr4 fr
2 fr
4 fr 4 fr
2 fr
4 fr
Use G Major and E minor to link the keys of D and C in a song. See Jesse’s Easy Chord Chart below.
The next page shows you an example that switches keys using these chords.
8 GUITAR ON THE SPOT III - COMMANDING THE CODE
SWITCH KEYS FROM D TO C AND BACK TO D
Here’s a chord progression that switches keys from D to C and then back to D by using common chords
Example 1.1 - Switching Keys
X3 2 0 1 0 0 2 3 0 0 0X0 2 3 1 0 1 3 4 2 1 1
XX0 1 3 2 1 3 4 1 1 1 2 1 0 0 0 3X1 3 4 2 1
2 fr
IIImVImI IV
(V of Key of C)
IVVImI IIIm
(IIm of Key of D)
Keyof C
Keyof D
C Major E minorA minor F Major
D Major F#/Gb minor G MajorB minor
Notice that G Major is Chord IV in the key of D and Chord V in the key of C, so you can use it to link the two keys.
Notice also that E minor is Chord IIIm in the key of C and Chord II in the key of D so you can use it to link the two keys also.
HAPPY KEYS AND SAD KEYS 9
Happy Keys and Sad KeysCHAPTER
2HAPPY KEYS AND SAD KEYS
In Guitar On the Spot - Understanding the Code, you learned all about the Major scale and Major keys. In this chapter you’ll learn about a new type of key called a minor key that uses a different code, the minor scale.
There are two types of keys:
1. Major keys - Happy keys 2. Minor keys - Sad keys
Look at the two groups of chords below. The first group of chords is in the key of G Major. The second group of chords is in the key of G minor.
Play the two examples on the next page so you can hear the difference between Major keys and minor keys.
G Major A minor B minor F#/GH diminishedC Major D Major E minor
VIm VIIoVIVIIImIImI1 3 4 2 1 1 1 3 4 1 1 1 1 3 4 1 1 1 X 1 2 4 3 XX 1 3 3 3 X
X(
1 2 3 4 1) X 1 3 3 3 X
X(
1 2 3 4 1) X 1 3 4 2 1
5 fr3 fr 7 fr 9 fr3 fr 5 fr 7 fr
Chords in the Key of G Major
A#/BH Major D#/EH Major F MajorC minor D minorG minor A diminished
HVI HVIIVmIVmHIIIIIoIm1 3 4 2 1 1 X 1 3 3 3 X
X(
1 2 3 4 1)X 1 3 4 2 1 X 1 3 3 3 X
X(
1 2 3 4 1)X 1 3 4 2 11 3 4 1 1 1 1 2 3 1 X X
6 fr 6 fr3 fr 8 fr5 fr5 fr3 fr
Chords in the Key of G Minor
10 GUITAR ON THE SPOT III - COMMANDING THE CODE
MAJOR AND MINOR KEYS
Play these two examples to hear the difference between Major keys and minor keys
Example 2.1 - Key of G Major
X1 3 3 3XX(
1 2 3 4 1) X1 3 3 3X
X(
1 2 3 4 1)1 3 4 2 1 1 1 3 4 2 1 1
3 fr 5 fr3 fr 3 fr
VIV II
C Major D MajorG Major G Major
Example 2.2 - Key of G Minor
X1 3 4 2 1X1 3 4 2 11 3 4 1 1 1 1 3 4 1 1 1
5 fr3 fr3 fr 3 fr
VmIVm ImIm
D minorC minorG minor G minor
Minor keys have a dark and sad sound.
Major keys have a bright and happy sound.
HAPPY KEYS AND SAD KEYS 11
Minor Scale Step Pattern
Minor Scale Compared to Major Scale
Minor Scale
THE MINOR SCALE
1 42 5H3 H6 H7 1
WholeStep
WholeStep
HalfStep
WholeStep
WholeStep
WholeStep
HalfStep
4 5 6 71 12 3
Just remember: 1, 2, H3, 4, 5, H6, H7. The example on the next page shows you how to use the minor scale to figure out the notes in the key of G minor.
WholeStep
WholeStep
HalfStep
WholeStep
WholeStep
WholeStep
HalfStep
1 2 4 5 6H3 H7 13 7H6
To make the minor scale easy to remember, you can compare it to the Major scale. When you do this, you’ll notice that it’s the Major scale with a H3, H6 and H7.
Here’s the minor scale rewritten in terms of the Major scale:
To figure out the notes in a minor key, you use the minor scale
Here’s the minor scale step pattern:
12 GUITAR ON THE SPOT III - COMMANDING THE CODE
Notes in the Key of G Minor
FIGURE OUT NOTES IN THE KEY OF G MINOR
2FIGURE OUT the Notes in that Minor Key
1PICK a Minor Key
Circle the rest of the notes in that key by following the minor scale pattern of whole and half steps. Circle the rest of the notes in the key of G minor.
Pick a minor key for your song by choosing any note to start the minor scale on. For example pick the key of G minor.
Start onNote G 1
A B C D E FC#DH
A#BH
D#EH
F#GH G A B C D E FC#
DHA#BH
G#AH G G#
AHD#EH
F#GH
WholeStep
WholeStep
HalfStep
WholeStep
WholeStep
WholeStep
HalfStep
1 2 4 5H3 H6 H7 1
A B C D E FC#DH
A#BH
D#EH
F#GH G A B C D E FC#
DHA#BH
G#AH G G#
AHD#EH
F#GH
Minor Scale
1 2 4 5H3 H6 H7 1
G A C D FA#BH GD#
EH
Example 2.3
HAPPY KEYS AND SAD KEYS 13
THE CHORDS IN ANY MINOR KEY
The chords based off of notes 1, 4 and 5, are minor chords (Im, IVm, and Vm).
The chords based off of notes H3, H6 and H7 are Major chords (HIII, HVI, and HVII).
The chord based off of note 2 is a diminished chord (IIo).
I’ll explain how to determine which chords are which types in the next chapter. The diagram below shows you how to use this chord pattern to figure out the chords in the key of G minor.
To figure out the chords in any minor key, you use the minor scale chord pattern
Here’s the chord pattern:
The Minor Scale Chord Pattern
1 2 4 5H3 H6 H7 1Notes
ImMinor ScaleChord Pattern
IIo HIII IVm Vm HVI HVII Im
Majorchord
minorchord
minorchord
Majorchord
Majorchord
minorchord
dimchord
Chords in the Key of G Minor
1 2 4 5H3 H6 H7 1
G A B C D E FC#DH
A#BH
G#AH GD#
EH
Gm Ao Cm Dm FA#BH
D#EH
F#GH
Im
Chords in G minor
Notes in G minor
Minor Chord Pattern
Minor scale
IIo HIII IVm Vm HVI HVII Im
Majorchord
minorchord
minorchord
Majorchord
Majorchord
minorchord
dimchord
14 GUITAR ON THE SPOT III - COMMANDING THE CODE
THE CHORDS IN THE KEY OF G MINOR
A#/BH Major D#/EH Major F MajorC minor D minorG minor A diminished
HVI HVIIVmIVmHIIIIIoIm1 3 4 2 1 1 X 1 3 3 3 X
X(
1 2 3 4 1)X 1 3 4 2 1 X 1 3 3 3 X
X(
1 2 3 4 1)X 1 3 4 2 11 3 4 1 1 1 1 2 3 1 X X
6 fr 6 fr3 fr 8 fr5 fr5 fr3 fr
Chords in the Key of G Minor
You can create chord diagrams and play these chords by using the steps you learned in Chapter 8 of Guitar On the Spot - Understanding the Code. Here they are again:
Remember the 3 steps:
1. Choose a Chord Shape 2. Anchor the Chord Shape on the Root Note 3. Play the Chord
Here’s a chord diagram for each chord:
HAPPY KEYS AND SAD KEYS 15
RELATIVE KEYS
Key of E Minor
1 2 4 5H3 H6 H7 1
E F F#GH G A B C D EC#
DHA#BH
G#AH
D#EH
Em GF#oGH Am Bm DC Em
Im
Chords in E minor
Notes in E minor
Minor scale
IIo HIII IVm Vm HVI HVII ImMinor ScaleChord Pattern
Key of G Major
1 2 4 53 6 7 1
G F#oGH Am Bm EmDC G
I
Chords in G Major
Notes in G Major
Major ScaleChord Pattern
Major scale
IIm IIIm IV V VIm VIIo I
CG A B D E FC#DH
A#BH
G#AH GD#
EHF#GH
=
Every Major key has a relative minor key that shares the same notes and chords
The relative minor key of G Major is E minor. Notice below that the key of G Major has the same notes and chords as the key of E minor, but in a different order. E minor is Chord VIm in the key of G Major and G Major is Chord HIII in the key of E minor.
This is because the minor scale looks exactly the same as the Major scale if you started on note 6. See the next page
16 GUITAR ON THE SPOT III - COMMANDING THE CODE
RELATIVE KEYS
Major Scale Note 6 to 6 = Minor Scale
6 7 2 31 4 5 6
1 2 4 5H3 H6 H7 1
Minor scale
Major scale note 6 to note 6
=
The minor scale looks exactly the same as the Major scale from note 6 to note 6.
Minor Scale Chord Pattern
6 7 2 31 4 5 6
ChordPattern
Notes
VIm VImVIIo I IIm IIIm IV V
Minor Scale Chord Pattern
Major Scale Chord PatternChord VIm to Chord VIm
=1 2 4 5H3 H6 H7 1
Im IIo HIII IVm Vm HVI HVII ImChordPattern
Notes
This also means that the minor scale chord pattern is exactly the same as the Major scale chord pattern from Chord VIm to Chord VIm.
HAPPY KEYS AND SAD KEYS 17
RELATIVE KEYS
If your song “centers” around Chord VIm, or note 6, it’s in the minor key. Also known as the Aeolian mode.
Song Centered Around Chord VIm - It’s in E Minor
X3 2 0 1 0XX0 1 3 20 2 3 0 0 0 0 2 3 0 0 0
IVV VImVIm
C MajorD MajorE minor E minor
1 3 4 2 X X2 1 0 0 0 3 X 0 2 3 1 0 X X X 3 2 1 X 3 2 0 1 0 X X 0 1 3 2 0 2 3 0 0 0
Chords in the Key of G Major
F#/GH dimG Major A minor B minor C Major D Major E minor
VIm VIIoVIVIIImIImI
If your song “centers” around Chord I, or note 1, it’s in the Major key also known as the Ionian mode.
Song Centered Around Chord I - It’s in G Major
2 1 0 0 0 32 1 0 0 0 3 X3 2 0 1 0XX0 1 3 2
IVV II
G MajorG Major C MajorD Major
The only way to tell which key your song is in is by knowing which chord or note your song “centers” around
18 GUITAR ON THE SPOT III - COMMANDING THE CODE
SAME SONG, DIFFERENT ROMAN NUMERALS
You can write the second chord progression on the previous page in two ways:
1. Using the roman numerals from the key of G Major, where E minor is Chord VIm. Just like the second chord progression on the previous page.
Same Song Centered Around Chord Im - E Minor
X3 2 0 1 0XX0 1 3 20 2 3 0 0 0 0 2 3 0 0 0
HVIHVII ImIm
C MajorD MajorE minor E minor
They are the same chords with different roman numerals.
At first, it’s easier to think of E minor as Chord VIm in the key of G Major, but eventually it’s more beneficial to think of E minor as Chord Im in the key of E minor so you can mix chords from different keys. You’ll learn how to do that in the next chapter.
Song Centered Around Chord VIm - E Minor
X3 2 0 1 0XX0 1 3 20 2 3 0 0 0 0 2 3 0 0 0
IVV VImVIm
C MajorD MajorE minor E minor
2. Using the roman numerals from the key of E minor, where E minor is Chord Im.
or
HOW TO MIX CHORDS FROM DIFFERENT KEYS 19
How to Mix Chords From Different Keys
CHAPTER
3
CHOOSE FROM MORE THAN SEVEN CHORDS
When you get bored of choosing from only seven chords in one key, you can start mixing chords from different keys
Many times you’ll start playing a song written by someone and you’ll notice that the chords in it are not in the same key, so you’ll wonder as I did, “Where are these other chords coming from, how did this songwriter know to choose these chords?”
What you’ll probably find out is that they are mixing the chords from a Major key, with the chords from a minor key.
For example, they’ll mix the chords in the key of G Major with the chords in the key of G minor. These keys are related because G is the main note in each key. Read on to see some examples.
20 GUITAR ON THE SPOT III - COMMANDING THE CODE
COMPARE THE KEY OF G MAJOR AND G MINOR
Take a look at the chords in G Major and G minor
G Major A minor B minor F#/GH diminishedC Major D Major E minor
VIm VIIoVIVIIImIImI1 3 4 2 1 1 1 3 4 1 1 1 1 3 4 1 1 1 X 1 2 4 3 XX 1 3 3 3 X
X(
1 2 3 4 1) X 1 3 3 3 X
X(
1 2 3 4 1) X 1 3 4 2 1
5 fr3 fr 7 fr 9 fr3 fr 5 fr 7 fr
Chords in the Key of G Major
A#/BH Major D#/EH Major F MajorC minor D minorG minor A diminished
HVI HVIIVmIVmHIIIIIoIm1 3 4 2 1 1 X 1 3 3 3 X
X(
1 2 3 4 1)X 1 3 4 2 1 X 1 3 3 3 X
X(
1 2 3 4 1)X 1 3 4 2 11 3 4 1 1 1 1 2 3 1 X X
6 fr 6 fr3 fr 8 fr5 fr5 fr3 fr
Chords in the Key of G Minor
HOW TO MIX CHORDS FROM DIFFERENT KEYS 21
MIX THE KEYS OF G MAJOR AND G MINOR
Here’s a chord progression that mixes chords from the Key of G Major and the Key of G minor
HIII HVII VI
1 3 4 2 1 1 X1 3 3 3XX(
1 2 3 4 1)1 3 4 2 1 1 X1 3 3 3X
X(
1 2 3 4 1)
6 fr 8 fr3 fr 3 fr
HVIIHIII IVI
A#/BH Major F MajorG Major C Major
Example I-HIII-HVII-IV
Example 9.1 - I-HIII-HVII-IV in the Key of G
22 GUITAR ON THE SPOT III - COMMANDING THE CODE
MIX THE KEYS OF G MAJOR AND G MINOR
Here’s another example that mixes chords from the Key of G Major and the Key of G minor
IVm HVII VIIoIm
X1 3 4 2 1 X1 3 3 3XX(
1 2 3 4 1)1 3 4 1 1 1 X1 2 4 3X
3 fr 8 fr3 fr 9 fr
HVIIIVm VIIoIm
F MajorC minorG minor F#/GH diminished
Example Im-IVm-HVII-VIIo
Example 9.2 - Im-IVm-HVII-VIIo in the Key of G
HOW TO MIX CHORDS FROM DIFFERENT KEYS 23
MIX THE KEYS OF G MAJOR AND G MINOR
Here’s another example
Example I-IV-IVm-I
IV IVm II
Example 9.3 - I-IV-IVm-I in the Key of G
X1 3 3 3XX(
1 2 3 4 1) X1 3 4 2 11 3 4 2 1 1 1 3 4 2 1 1
3 fr 3 fr3 fr 3 fr
IVmIV II
C Major C minorG Major G Major
24 GUITAR ON THE SPOT III - COMMANDING THE CODE
MIX THE KEYS OF G MAJOR AND G MINOR
Here’s another example
HVI IV HVII
1 3 4 2 1 1 X1 3 3 3XX(
1 2 3 4 1)X1 3 3 3X
X(
1 2 3 4 1) X1 3 3 3X
X(
1 2 3 4 1)
3 fr 3 fr6 fr 6 fr
IVHVI HVII
G Major C MajorD#/EH Major D#/EH Major
Example I-HVI-IV-HVI
Example 9.4 - I-HVI-IV-HVI in the Key of G
HOW TO MIX CHORDS FROM DIFFERENT KEYS 25
MIX THE KEYS OF G MAJOR AND G MINOR
Here’s another example
HVII IV ImIm
X1 3 3 3XX(
1 2 3 4 1)1 3 4 1 1 1 1 3 4 1 1 1X1 3 3 3X
X(
1 2 3 4 1)
8 fr3 fr 3 fr3 fr
IVHVIIIm Im
F MajorG minor G minorC Major
Mixing chords from Major and minor keys opens up many more options for your song writing. I hope these five examples have given you a solid introduction to mixing keys.
Example Im-HVII-IV-Im
Example 9.5 - Im-HVII-IV-Im in the Key of G
26 GUITAR ON THE SPOT III - COMMANDING THE CODE
How to Make Up Solos in Sad Keys
CHAPTER
4SOLO USING THE MINOR SCALE
Minor Scale
1 42 5H3 H6 H7 1
The minor scale is 1, 2, H3, 4, 5, H6, H7.
The next page shows you the 5 minor scale patterns on the guitar neck.
This chapter shows you some examples using the minor scale and some soloing tips.
You can use the minor scale to solo over songs in sad sounding minor keys
HOW TO MAKE UP SOLOS IN SAD KEYS 27
THE 5 MINOR SCALE PATTERNS
1 2 4 5 1
1 2 4 5
2 4 5
4 5
5
1
1 2 4 5
1 2 4 5
1 2
1 2
4
1 2
1 2
2 4
4 5
5
1
2 4
2 4
4 5
51 2
1
4 5
4 5
52 4
1 2
1
5
5
4 5
2 4
1 2
1
1
1
5
4 5
2
1 2
4
Pattern 1
Pattern 2
Pattern 3
Pattern 4
Pattern 5
H3H3
H6 H7
H3 H6 H7
H6H6
H7H7H3H3H6 H7
H3H6 H7H3H7
H3
H3
H6
H6 H7H3H7
H3
H3
H6 H7H3H6
H7
H6
H6
H7H3H6 H7
H3
H3H6 H7
H6 H7
H6H7
H3
H3H7
H7
H6 H7H3
H6
H6
The 5 Minor Scale Patterns
28 GUITAR ON THE SPOT III - COMMANDING THE CODE
SOLO USING THE MINOR PENTATONIC SCALE
Minor Pentatonic Scale
1 4H3 H6 H7 1
The minor pentatonic scale is 1, H3, 4, H6, H7. It’s the same as the minor scale without notes 2 and 5. It’s easier to start using the minor pentatonic scale first.
The next page shows you the 5 minor pentatonic scale patterns on the guitar neck followed by an example of how to make up a solo using the minor scale.
You can also use a stripped down version of the minor scale called the minor pentatonic scale
HOW TO MAKE UP SOLOS IN SAD KEYS 29
THE 5 MINOR PENTATONIC SCALE PATTERNS
1 4 5 1
1 4 5
4 5
4 5
5
1
1 4 5
1 4 5
1
1
4
1
1
4
4 5
5
1
4
4
4 5
51
1
4 5
4 5
54
1
1
5
5
4 5
4
1
1
1
1
5
4 51
4
Pattern 1
Pattern 2
Pattern 3
Pattern 4
Pattern 5
H3H3H7
H3 H7
H7H7H3H3H7
H3H7H3H7
H3
H3H7
H3H7
H3
H3
H7H3
H7
H7H3
H7H3
H3H7
H7
H7H3
H3H7
H7
H7H3
The 5 Minor Pentatonic Scale Patterns
30 GUITAR ON THE SPOT III - COMMANDING THE CODE
MAKE UP SOLOS IN MINOR KEYS
Once you’ve anchored Pattern 1, you can branch off into all the other patterns. Remember the notes in each pattern overlap. You can play any notes in this scale over your back-up song and they will sound good.
1CREATE a Back-Up Song in Any Minor Key!
3MAKE UP a Solo!
2ANCHOR a Scale Patternon the Root Note of that Key!
Anchor note 1 of a minor scale pattern on the root note of that key.
Anchor note 1 of Pattern 1 of the minor scale on note E because the back-up song is in the key of E minor.
Create a Back-Up Song
Anchor Note 1 on the Root Note
H3
H3
H6
H6 H7H3H7
H3
H3
H6
H6 H7H3H7
1
3rd 5th 7th 9th 12th
E
AnchorNote 1 on E
1 2
1 2
2 4
4 5
5
1
1 2
2
4
4 5
5
1 2
Minor ScalePattern 1
E minor scale
E minor scale
Solo Up and Down the Neck
Create a back-up song and record it.
This example is in the key of E minor.
H3H3
H6 H7
H3 H6 H7
H6H6
H7H7H3H3H6 H7
H3H6 H7
H3
H3
H6
H7H3H7
H6
1
3rd 5th 7th 9th 12th
EADGBE
654321 1 2 4 5 1
2 4 5
4 5
4 5
5
1
2
2
4
512 4 5
1 2 4 5
1 2
1 2
4E E
X3 2 0 1 0XX0 1 3 20 2 3 0 0 0 0 2 3 0 0 0
HVIHVII ImIm
C MajorD MajorE minor E minor
Example 4.1
HOW TO MAKE UP SOLOS IN SAD KEYS 31
MAKE UP SOLOS THAT FOLLOW YOUR SONG
Soloing Tip:
To make your solo follow the song:
Emphasize the numbered note of the chord that’s currently being played
As the chords change, you change the numbered note that you emphasize.
Example 4.2 - Emphasize the Number of Each Chord
WhenChord Imis beingplayed,emphasizenote 1
X3 2 0 1 0XX0 1 3 20 2 3 0 0 0 0 2 3 0 0 0
HVIHVII ImIm
C MajorD MajorE minor E minor
EmphasizeNote 1
E minorscale
EmphasizeNote H7
EmphasizeNote H6
EmphasizeNote 1
H3 H3H6
H6
H7
H3H7
H7
H7
H6
H61
3rd
E 1
22 4
4
5
5
1
23rd
11
1
3rd 3rd 3rd
11
1
Example 4.2
32 GUITAR ON THE SPOT III - COMMANDING THE CODE
THE 7 MINOR KEY CHORD FORMULAS
Soloing Tip:
To make up solos with more than one note at a time:
Emphasize the numbered notes in the chord formula of the chord that’s currently being played
Just like Major keys, each one of the seven chords in a minor key: Im, IIo, HIII, IVm, Vm, HVI and HVII, has a chord formula that tells you which notes are in each chord.
Here are the seven minor key chord formulas:
The 7 Minor Key Chord Formulas
Chord Im
Chord FormulaChord
Chord IIo
Chord HIIIChord IVmChord VmChord HVIChord HVII
5H31
H642
H75H3
1H64
2H75
H31H6
42H7
If you’re soloing when Chord Vm is being played, emphasize notes 5, H7 and 2 of the minor scale.
You can play more than one note at a time in your solos by playing notes 5 and H7 at the same time or notes 5 and 2 at the same time, or all three notes, 5, H7 and 2 at the same time.
HOW TO MAKE UP SOLOS IN SAD KEYS 33
SOLO WITH MORE THAN ONE NOTE AT A TIME
When you solo, emphasize the numbered notes in each chord formula
As the chords change, you change the numbered notes that you emphasize.
When Chord Im is being played in the example below, emphasize notes 1, H3 and 5, when Chord HVII is being played emphasize notes H7, 2 and 4, and when Chord HVI is being played, emphasize notes H6, 1 and H3.
This makes it really easy to make up great solos without ever knowingthe names of the notes you’re playing!
Example 4.3 - Emphasize the Numbers in Each Chord
WhenChord Imis beingplayed,emphasizenotes 1, H3, 5
X3 2 0 1 0XX0 1 3 20 2 3 0 0 0 0 2 3 0 0 0
HVIHVII ImIm
C MajorD MajorE minor E minor
EmphasizeNotes 1, H3, 5
EmphasizeNotes H7, 2, 4
EmphasizeNotes H6, 1, H3
EmphasizeNotes 1, H3, 5
E minorscale
H3 H3H6
H6
H7
H3H7
H3 H3
H3
H7
H7
H3 H3H6
H6
H3
H3 H3
H3
1
3rd
E 1
22 4
4
5
5
1
23rd
11
5
5
1
3rd
22 4
4
23rd
11
1
3rd
11
5
5
1
Example 4.3
34 GUITAR ON THE SPOT III - COMMANDING THE CODE
CREATING THE MINOR KEY CHORD FORMULAS
To create the minor key chord formulas, you just skip every other number
You use the same leap frog pattern that you used in Chapter 13 of Guitar On the Spot - Understanding the Code when you figured out the Major key chord formulas.
The table below shows you all of the minor key chord formulas. This is called “harmonizing the minor scale.”
The next part of this chapter shows you why Chords Im, IVm and Vm are minor chords, Chords HIII, HVI and HVII are Major chords and why Chord IIo is a diminished chord.
The Seven Minor Key Chord Formulas
1 42 5H3Chord Im
Chord FormulaLeap Frog Every Other NumberChord
5H31
1 42 5H3 H6Chord IIo H642
1 42 5H3 H6 H7Chord HIII
1 42 5H3 H6 H7 1Chord HVI
H75H3
1 42 5H3 H6 H7 1Chord IVm
1 42 5H3 H6 H7 1
2 H3
1 42 5H3 H6 H7 1Chord HVII 42 H3
2Chord Vm
1H64
2H75
H31H6
42H7
HOW TO MAKE UP SOLOS IN SAD KEYS 35
The Seven Minor Key Chord Formulas
THE SPACING DETERMINES THE CHORD TYPE
42
5H3
4 H6
H7
5 H7
H6 1
2
1 H3
1 5H3Chord Im
Chord FormulaNote SpacingChord
5H31
42 H6Chord IIo H642
5H3 H7Chord HIII
H6 1Chord HVI
H75H3
4 H6 1Chord IVm
5 H7
H3
H7Chord HVII 42
2Chord Vm
1H64
2H75
H31H6
42H7
The spacing between the notes determines the type of chord
You can see the similarities and differences between the chords in a minor key by lining them up and looking at the spacing between their notes. The spaces are actually frets.
36 GUITAR ON THE SPOT III - COMMANDING THE CODE
Minor Chords - Im, IVm and Vm
42
4
samespacing
samespacing
2
5 H7
H6 1
1 5H3Chord Im
5H31
1 5H3
minorDefinition
5H31
4 H6 1Chord IVm
5 H7 2Chord Vm
1H64
2H75
THE MINOR CHORDS
Chords Im, IVm and Vm are minor chords because their note spacing follows the definition of a minor chord
Notice that all of the notes line up in the figure below.
HOW TO MAKE UP SOLOS IN SAD KEYS 37
THE MAJOR CHORDS
4
samespacing
samespacing
2
4 H6
H7 2
1 H3
Chord HIIIH75H3
1 53
Majordefinition
531
Chord HVI
Chord HVII
H31H6
42H7
5H3 H7
H6 1 H3
H7 42
Major Chords - HIII, HVI and HVII
Chords HIII, HVI and HVII are Major chords because their note spacing follows the definition of a Major chord
Notice that all of the notes line up in the figure below.
38 GUITAR ON THE SPOT III - COMMANDING THE CODE
Diminished Chord - IIo
4
samespacing
samespacing
2
5H3
1 H5H3
diminisheddefinition
H5H31
42 H6Chord IIo
H642
THE DIMINISHED CHORD
JESSE’S BIG PICTURE FOR MINOR KEYS
You can create a minor key version of Jesse’s BIG Picture
Using the 5 minor scale patterns and the minor key chord formulas you can create a minor key version of Jesse’s BIG Picture, just like you did for Major keys in Chapter 10 of Guitar On the Spot - Understanding the Code. This way you can see how the chords are hidden within the scale. See the next page.
The next chapter shows you an example of how to make up songs, solos and riffs in the key of B minor using this minor key version of Jesse’s BIG Picture.
Chord IIo is a diminished chord because its note spacing follows the definition of a diminished chord
Notice that all of the notes line up in the figure below.
HOW TO MAKE UP SOLOS IN SAD KEYS 39
JESSE’S BIG PICTURE FOR MINOR KEYS
H 3H 3
H 6 H 7
H 3 H 6 H 7
H 6H 6
H 7H 7H 3H 3H 6 H 7
H 3H 6 H 7H 3H 7
H 6
H 3
H 3
H 6
H 6
H 6
H 6
H 6
H 7H 3
H 3
H 7
H 3
H 3
H 3H 7
H 3
H 3
H 3
H 6
H 6
H 6
H 7H 3H 6
H 7
H 3
H 3
H 7H 3
H 7
H 6
H 6
H 7H 3
H 3
H 6
H 6
H 6
H 7H 3
H 3H 7
H 3
H 3H 6 H 7
H 6
H 6
H 7
H 6
H 6
H 6
H 7H 3
H 3
H 7H 3
H 3
H 3
H 3
H 7
H 7
H 6
H 6
H 6
H 7H 3
H 3
H 7
H 7H 3
H 6
2
5
5
H 7
2
H 3
H 6
H 6
1
H 3
2
4
H 7
H 7
2
5H 31Chord Im
Chord H IIIH 75H 3
Chord Vm2H 75
Chord H VII42H 7
Chord IIo
H 642
Chord IVm1H 64
Chord H VIH 31H 6
5
5
H 72
5
5
H 7
2
2
5
H 7
25
52
H 7
5
5
H 6
H 6
H 6
1
1
H 3
H 6
H 6
1H 6
H 3
H 3
1
H 6
H 6H 3
1
1
H 6H 3
H 6
4
H 7
H 7
2
4
H 7
H 7
H 7
2
2
4
H 7
H 7
2H 7
4
4
2
H 7
H 74
Minor Scale1 2 4 5 1
1 2 4 5
2 4 5
4 5
5
1
1 2 4 5
1 2 4 5
1 2
1 2
4
1 2
1 2
2 4
2
4
4 5
5
5
5
1
1
4
41
1
15
5
1
2 4
2 4
4 5
5
51
4
41
2
2
42
1
51
1
4 5
5
4 5
52 4
1 2
4
2
2
1
4
4
4
1
1
51
1
5
5
4 5
5
5
2 4
1 2
4
2
1
4
41
5
51
1
1
1
5
4
4
5
5
2
1
1
51
2
4
2
2
4
1
4
112431
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3331X(
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)
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11134(
411123
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)
3331X(
14321X
112431
3421XX
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3331X(
14321X
X
)
11134(
411123
112431
3421XX
12134X
111431
2431XX
X2431X
X3124X
XX1124
111431
12431X
XX1124
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55
5
H 7
H 7
5 H 7 H 7
5
H 7
4
H 61
H 6
H 6 H 61
H 6
1
H 6
H 6
1H 6
2H 7
5
H 72
H 7
H 7 H 72
H 7
2
2
H 7
H 3
1
H 3
11
1
H 3
H 3
1 H 3
4
2 4 4
2
4
22
2
4
H 3
H 35
5
5
H 3
5H 3
15
H 3
H 3
H 3
2 4
4
H 6
H 6
4 H 6
4
H 6
2
4
H 6
4
2
2
4
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5
Jesse’s BIG PictureMinor Key Version
40 GUITAR ON THE SPOT III - COMMANDING THE CODE
How to Make Up Songs, Solos and Riffs Using Jesse’s BIG Picture for Sad Keys
CHAPTER
5
JESSE’S BIG PICTURES FOR MINOR (SAD) KEYS
You can make up songs, solos and riffs in minor (sad) keys using the minor key version of Jesse’s BIG Picture
Read on to see an example.
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN SAD KEYS 41
JESSE’S BIG PICTURE FOR MINOR KEYS
H 3H 3
H 6 H 7
H 3 H 6 H 7
H 6H 6
H 7H 7H 3H 3H 6 H 7
H 3H 6 H 7H 3H 7
H 6
H 3
H 3
H 6
H 6
H 6
H 6
H 6
H 7H 3
H 3
H 7
H 3
H 3
H 3H 7
H 3
H 3
H 3
H 6
H 6
H 6
H 7H 3H 6
H 7
H 3
H 3
H 7H 3
H 7
H 6
H 6
H 7H 3
H 3
H 6
H 6
H 6
H 7H 3
H 3H 7
H 3
H 3H 6 H 7
H 6
H 6
H 7
H 6
H 6
H 6
H 7H 3
H 3
H 7H 3
H 3
H 3
H 3
H 7
H 7
H 6
H 6
H 6
H 7H 3
H 3
H 7
H 7H 3
H 6
2
5
5
H 7
2
H 3
H 6
H 6
1
H 3
2
4
H 7
H 7
2
5H 31Chord Im
Chord H IIIH 75H 3
Chord Vm2H 75
Chord H VII42H 7
Chord IIo
H 642
Chord IVm1H 64
Chord H VIH 31H 6
5
5
H 72
5
5
H 7
2
2
5
H 7
25
52
H 7
5
5
H 6
H 6
H 6
1
1
H 3
H 6
H 6
1H 6
H 3
H 3
1
H 6
H 6H 3
1
1
H 6H 3
H 6
4
H 7
H 7
2
4
H 7
H 7
H 7
2
2
4
H 7
H 7
2H 7
4
4
2
H 7
H 74
Minor Scale1 2 4 5 1
1 2 4 5
2 4 5
4 5
5
1
1 2 4 5
1 2 4 5
1 2
1 2
4
1 2
1 2
2 4
2
4
4 5
5
5
5
1
1
4
41
1
15
5
1
2 4
2 4
4 5
5
51
4
41
2
2
42
1
51
1
4 5
5
4 5
52 4
1 2
4
2
2
1
4
4
4
1
1
51
1
5
5
4 5
5
5
2 4
1 2
4
2
1
4
41
5
51
1
1
1
5
4
4
5
5
2
1
1
51
2
4
2
2
4
1
4
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)
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)
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)
3331X(
14321X
112431
3421XX
X
)
3331X(
14321X
X
)
11134(
411123
112431
3421XX
12134X
111431
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X2431X
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12431X
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5
H 7
H 7
5 H 7 H 7
5
H 7
4
H 61
H 6
H 6 H 61
H 6
1
H 6
H 6
1H 6
2H 7
5
H 72
H 7
H 7 H 72
H 7
2
2
H 7
H 3
1
H 3
11
1
H 3
H 3
1 H 3
4
2 4 4
2
4
22
2
4
H 3
H 35
5
5
H 3
5H 3
15
H 3
H 3
H 3
2 4
4
H 6
H 6
4 H 6
4
H 6
2
4
H 6
4
2
2
4
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5
Jesse’s BIG PictureMinor Key Version
42 GUITAR ON THE SPOT III - COMMANDING THE CODE
MAKE UP SONGS USING JESSE’S BIG PICTURE
1PICK a Minor Key!
3PLAY Your Song, Solo or Riff!
2SELECT Chords From that Key!
To make up songs, solos and riffs using Jesse’s BIG Picture for minor keys just follow 3 steps:
The next page shows you an example of how to make up songs, solos and riffs in the key of B minor using Jesse’s BIG Picture for minor keys.
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN SAD KEYS 43
MAKE UP SONGS, SOLOS AND RIFFS
1PICK a Minor Key!
Pick any minor key for your song and anchor note 1 of the minor scale. Then pick a pattern of the minor scale to use to make up your song. There is no back-up song to play along with because you are creating the song.
1
H3H3H7
H3 H7
H7H7
H6
H3H3H7
H3H7
H6
H6
H6H6
H6H6
H3H7
H3
H3
H7H3
H7H3H7
H6
H6
H6
H6
H3H7
H7
H7H3
H7H3
H6
H6
H6H6
H6H3H7
H3
H3
H7H3
H7H3H7
H6
H6
H6
H6
H3H7
H7
H7H3
H7H3
H6
H6
H6H6
H6H3H7
H6H3
H3
H3H6
H6H3 H3
H3
H6
F#GH
G#AH
A#BH
C#DH
D#EH
F#GH
F G A B
B
C D E F GEADGBE
654321
Minor Scale
3rd 5th 7th 9th 12th
3rd 5th 7th 9th 12th
EADGBE
654321
B minor scale
Pattern 17th 9th
B minor ScalePattern 1 B minor Scale
Pattern 1
=
1 2 4 5 1
1 2 4 5
2 4 5
4 5
5
1
1 2 4 5
1 2 4 5
1 2
1 2
4
1 2 4 5
2 4 5
2 4 5
4 5
5
1 2 4
1 2
1
4 5
4 5
4 5
1 2 4
1 2
1
B
3rd 5th 7th 9th 12th2 4 5
2 4 5
2 4 5
4 5
5
2 4
24 5
4 5
4 5
2 4
2
B
EADGBE
654321
1 2
2
2
4H7 1
5 H7
5
4 7th
9th
1
22
2
4 H7
1
5
H7
B
5 4
BB
B
B
BB
B
Anchor Note 1 on the Root Note
Pick the key of B minor
Pick a pattern of the minor scale. Pick Pattern 1 of the B minor scale.
Rotate the pattern from horizontal to vertical.
Anchor note 1 of the minor scale on the note B.
Example 5.1
44 GUITAR ON THE SPOT III - COMMANDING THE CODE
MAKE UP SONGS, SOLOS AND RIFFS
2SELECT Chords from that Key!
Select ChordsChord Im Chord HVI Chord HVIIChord HVII1st Chord 2nd Chord 4th Chord3rd Chord
Select Minorkeychords
H3
H3
H6
H6
H6
H6
H6
H7H3
H3
H7
H3
H3
H3H7
H3
H3
H3
H6
H6
H6
H7H3H6
H7
H3
H3
H7H3
H7
H6
H6
H7H3
H3
H6
H6
H6
H7H3
H3H7
H3
H3H6 H7
H6
H6
H7
H6
H6
H6
H7H3
H3
H7H3
H3
H3
H3
H7
H7
H6
H6
H6
H7H3
H3
H7
H7H3
H6
2
5
5
H7
2
H3
H6
H6
1
H3
2
4
H7
H7
2
5H31Chord Im
Chord HIIIH75H3
Chord Vm2H75
Chord HVII42H7
Chord IIo
H642
Chord IVm1H64
Chord HVIH31H6
5
5
H72
5
5
H7
2
2
5
H7
25
52
H7
5
5
H6
H6
H6
1
1
H3
H6
H6
1H6
H3
H3
1
H6
H6H3
1
1
H6H3
H6
4
H7
H7
2
4
H7
H7
H7
2
2
4
H7
H7
2H7
4
4
2
H7
H74
1 2
1 2
2 4
2
4
4 5
5
5
5
1
1
4
41
1
15
5
1
2 4
2 4
4 5
5
51
4
41
2
2
42
1
51
1
4 5
5
4 5
52 4
1 2
4
2
2
1
4
4
4
1
1
51
1
5
5
4 5
5
5
2 4
1 2
4
2
1
4
41
5
51
1
1
1
5
4
4
5
5
2
1
1
51
2
4
2
2
4
1
4
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)
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)
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14321X
112431
3421XX
X
)
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14321X
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)
11134(
411123
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3421XX
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5
H7
H7
5 H7 H7
5
H7
4
H61
H6
H6 H61
H6
1
H6
H6
1H6
2H7
5
H72
H7
H7 H72
H7
2
2
H7
H3
1
H3
11
1
H3
H3
1 H3
4
2 4 4
2
4
22
2
4
H3
H35
5
5
H3
5H3
15H3
H3
H3
2 4
4
H6
H6
4 H6
4
H6
2
4
H6
4
2
2
4
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5
Select chords from the minor key version of Jesse’s BIG Picture. Then look up each chord diagram in the pattern that you picked in Step 1. In this example, I picked Pattern 1.
Example 5.1 - continued
Jesse’s BIG PictureMinor Key Version
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN SAD KEYS 45
MAKE UP SONGS, SOLOS AND RIFFS
3PLAY Your Song, Solo or Riff!
Make Up A SongMake up a chord progression by strumming each chord.
Make Up A SoloUse this chord progression as your back-up song and make up a solo by playing theB minor scale and emphasizing the numbered notes in each chord formula.
Make Up A RiffMake up riffs by alternating between strumming each chord, playing the notes in each chord individually, and playing the notes in the B minor scale. Get the rhythm going first by strumming the chords. Then slowly start to mix in the individual notes.
Play Your Song
H3
1
H3
2
2
4
2
2
4
H3H3H6H3 H3
H3
H6
H3
5H31
Chord Im Chord HVIH31H6
Chord HVII42H7
Chord HVII42H7
B MinorScale
Pattern 1
7th
9th
7th
9th
7th
9th
7th
9th
7th
9th
1
22
2
4 H7
1
5
H7
B
5 4
1
1
H6
H3
H6
2
H7
H7
4 2
H7
H7
4
11
5
5
1
3421XX 3421XX12134X111431
1st Chord 2nd Chord 4th Chord3rd Chord
Play the Numbered Notes in Each Chord
Play your song, solo or riff by looking up each chord that you selected in the minor key version of Jesse’s BIG Picture and playing the numbered notes in each chord all at once or individually. Or mix them with the other notes of the minor scale to create interesting riffs.
Example 5.1 - continued
46 GUITAR ON THE SPOT III - COMMANDING THE CODE
FIGURE OUT THE NOTE AND CHORD NAMES
You can figure out the names of the notes and chords in your song
See the next page.
Previous Example
H3
1
H3
2
2
4
2
2
4
H3H3H6H3 H3
H3
H6
H3
5H31
Chord Im Chord HVIH31H6
Chord HVII42H7
Chord HVII42H7
B MinorScale
Pattern 1
7th
9th
1
22
2
4 H7
1
5
H7
B
5 4
1
1
H6
H3
H6
2
H7
H7
4 2
H7
H7
4
11
5
5
1
3421XX 3421XX12134X111431
1st Chord 2nd Chord 4th Chord3rd Chord
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN SAD KEYS 47
FIGURE OUT THE CHORD NAMES
Use the minor chord pattern to figure out the chords in the key of B minor.3FIGURE OUT the Chords in that Key
Example 5.2
2FIGURE OUT the Notes in that Key
1PICK a Key for Your Song
Circle the rest of the notes in that key by following the minor scale pattern of whole and half steps. Circle the rest of the notes in the key of B minor. These are the root notes for the chords in this key.
In the previous example you picked the key of B minor, so start the minor scale on B.
Pick the Key of B minor
A B C D E FC#DH
A#BH
D#EH
F#GH G A B C D E FC#
DHA#BH
G#AH G G#
AHD#EH
F#GH
WholeStep
WholeStep
HalfStep
WholeStep
WholeStep
WholeStep
HalfStep
1 2 4 5H3 H6 H7 1
A B C D E FC#DH
A#BH
D#EH
F#GH G A B C D E FC#
DHA#BH
G#AH G G#
AHD#EH
F#GH
Minor Scale
Chords in the Key of B minor
1 2 4 5H3 H6 H7 1
AB BC D E FC#DH
A#BH
G#AHGD#
EH
Bm D Em m AGC#oDH BmF#
GH
F#GH
Im
Chords in B minor
Notes in B minor
Minor Chord Pattern
Minor scale
IIo HIII IVm Vm HVI HVII Im
48 GUITAR ON THE SPOT III - COMMANDING THE CODE
FIGURE OUT THE CHORD NAMESExample 5.2 - continued
5LOOK UP the Name of Each Chord
4LOOK at the Roman Numeral of Each Chord in Your Song
Chords in the Key of B minor
Previous Example
H3
1
H3
2
2
4
2
2
4
H3H3H6H3 H3
H3
H6
H3
5H31
Chord Im Chord HVIH31H6
Chord HVII42H7
Chord HVII42H7
B MinorScale
Pattern 1
7th
9th
1
22
2
4 H7
1
5
H7
B
5 4
1
1
H6
H3
H6
2
H7
H7
4 2
H7
H7
4
11
5
5
1
3421XX 3421XX12134X111431
1st Chord 2nd Chord 4th Chord3rd Chord
Bm D Em m AGC#oDH BmF#
GH
Im IIo HIII IVm Vm HVI HVII Im
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN SAD KEYS 49
FIGURE OUT THE CHORD NAMES
6WRITE in the Name of Each Chord
Example 5.2 - continued
Previous Example with Chord Names
H 3
1
H 3
2
2
4
2
2
4
H 3H 3
H 6H 3 H 3
H 3
H 6
H 3
5H 31
Chord Im Chord H VIH 31H 6
Chord H VII42H 7
Chord H VII42H 7
B MinorScale
Pattern 1
7th
9th
1
22
2
4 H 7
1
5
H 7
B
5 4
1
1
H 6
H 3
H 6
2
H 7
H 7
4 2
H 7
H 7
4
11
5
5
1
B minor G Major A MajorA Major
3421XX 3421XX12134X111431
1st Chord 2nd Chord 4th Chord3rd Chord
50 GUITAR ON THE SPOT III - COMMANDING THE CODE
Sad Key VariationsCHAPTER
6VARIATIONS OF THE MINOR SCALE
Natural Minor Scale
1 42 5H3 H6 H7 1
You can also make up solos in minor keys using two variations of the minor scale called the harmonic and melodic minor scales
All minor scales have a H3. For comparison, here’s the main minor scale you’ve been using known as the natural minor scale.
Natural Minor Scale
Harmonic Minor Scale
1 2 4 5H3 H6 17
Harmonic Minor Scale
Melodic Minor Scale
1 2 4 5H3 176
Melodic Minor Scale
The harmonic minor scale is the same as the minor scale, but note H7 is now 7. It is raised a half step (one fret). This makes the scale really want to resolve to note 1.
The melodic minor scale is the same as the harmonic minor scale, but note H6 is now 6. It is raised a half step (one fret). This makes the transition between note 6 and note 7 smoother. Traditionally, you’re supposed to play note 6 when you’re playing up the scale and note H6 when you’re playing down the scale, but you don’t have to.
SAD KEY VARIATIONS 51
THE 5 HARMONIC MINOR SCALE PATTERNS
1 2 4 5 1
1 2 4 5
2 4 5
4 5
5
1
1 2 4 5
1 2 4 5
1 2
1
7 7
7 7
77
1 2
1 2
2 4
4 5
5
1
7
7
7
2 4
2 4
4 5
51 2
17
7
7
7
4 5
4 5
52 4
1 2
17
7
2
5
5
4 5
2 4
1 2
1
7
7
7
4
1
1
5
4 5
2
1
7
7
72
4
Pattern 1
Pattern 2
Pattern 3
Pattern 4
Pattern 5
H3H3
H6
H3 H6
H6H6H3
H3H6H3
H3H6
H6
H6
H3
H6
H6
H3H6
H3
H6
H3
H3
H6H3H6
H3
H3
H3
H6
H6H3
H6
H3H6
H3H6
The 5 Harmonic Minor Scale Patterns
52 GUITAR ON THE SPOT III - COMMANDING THE CODE
THE 5 MELODIC MINOR SCALE PATTERNS
1 2 4 5 1
1 2 4 5
2 4 5
4 5
5
1
1 2 4 5
1 2 4 5
1 2
1
7 7
7 7
776
1 2
1 2
2 4
4 5
5
1
7
7
7
2 4
2 4
4H3 5
517 2
176
7
6
7
6
6
6
6
6
6
6
6
4 5
4
H3
H3 5
52 4
17 2
176
6
2
5
5
4H3 5
2 4
17 2
1
6
6
76
4
1
1
5
4H3 5
2
17
7
7
6
6
62
4
Pattern 1
Pattern 2
Pattern 3
Pattern 4
Pattern 5
H3H3
H3
H3H3
H3
H3
H3
H3
H3
H3
H3
H3
H3
H3
The 5 Melodic Minor Scale Patterns
Discover TheSeven Moods
Part 2
54 GUITAR ON THE SPOT III - COMMANDING THE CODE
Explore Seven Different Worlds of Songs
CHAPTER
7THE SEVEN MODES AND THEIR CHORDS
In Chapter 11 of Guitar On the Spot II - Expanding the Code you created different moods by centering your songs around different chords
When you did this in each example you were playing in one of the following seven modes: (you use different modes to create different moods)
G IonianA DorianB PhrygianC LydianD MixolydianE AeolianF#/GH Locrian
These seven modes all have the same notes and chords as the key of G Major. The only difference is which note or chord the song “centers” around.
To make it easier to hear the difference between the modes, this chapter compares some examples using the different modes of G. Each of these modes has a different set of notes and chords. You already compared G Ionian mode (G Major mode) and G Aeolian mode (G minor mode) in Chapter 3.
Here are all the modes of G and the keys that they belong to:
G Ionian has the same notes and chords as the Key of G MajorG Dorian has the same notes and chords as the Key of F MajorG Phrygian has the same notes and chords as the Key of D#/EH MajorG Lydian has the same notes and chords as the Key of D MajorG Mixolydian has the same notes and chords as the Key of C MajorG Aeolian has the same notes and chords as the Key of A#/BH MajorG Locrian has the same notes and chords as the Key of G#/AH Major
The secret to using modes is to re-number the chord you’re centering around as Chord I and re-number the rest of the chords from there. This makes it easy to switch between modes in the middle of a song. You’ll do that in a later chapter.
Right now just play these examples to hear the difference between the seven modes. All of these examples are variations of a I-IV-V-I chord progression.
•••••••
•••••••
EXPLORE SEVEN DIFFERENT WORLDS OF SONGS 55
G IONIAN MODE (G MAJOR MODE)
Here are the chords in G Ionian mode (G Major mode)
G Major A minor B minor F#/GH diminishedC Major D Major E minor
VIm VIIoVIVIIImIImI
Chords in G Ionian Mode (G Major Mode)
1 3 4 2 1 1 1 3 4 1 1 1 1 3 4 1 1 1 X 1 2 4 3 XX 1 3 3 3 XX(
1 2 3 4 1) X 1 3 3 3 X
X(
1 2 3 4 1) X 1 3 4 2 1
5 fr3 fr 7 fr 9 fr3 fr 5 fr 7 fr
Here’s an example in G Ionian mode (G Major mode).
Example 7.1 - G Ionian Mode (G Major Mode)
X1 3 3 3XX(
1 2 3 4 1) X1 3 3 3X
X(
1 2 3 4 1)1 3 4 2 1 1 1 3 4 2 1 1
3 fr 5 fr3 fr 3 fr
VIV II
C Major D MajorG Major G Major
56 GUITAR ON THE SPOT III - COMMANDING THE CODE
G DORIAN MODE
Here are the chords in G Dorian mode
A#/BH Major E diminished F MajorC Major D minorG minor A minor
VIo HVIIVmIVHIIIIImIm
Chords in G Dorian Mode
1 3 4 2 1 1 X 1 2 4 3 X X 1 3 3 3 XX(
1 2 3 4 1)X 1 3 3 3 X
X(
1 2 3 4 1) X 1 3 4 2 11 3 4 1 1 1 1 3 4 1 1 1
6 fr 7 fr 8 fr3 fr 5 fr3 fr 5 fr
Here’s an example in G Dorian mode.
Example 7.2 - G Dorian Mode
X1 3 3 3XX(
1 2 3 4 1) X1 3 4 2 11 3 4 1 1 1 1 3 4 1 1 1
3 fr 5 fr3 fr 3 fr
IV Vm ImIm
C Major D minorG minor G minor
EXPLORE SEVEN DIFFERENT WORLDS OF SONGS 57
G PHRYGIAN MODE
Here are the chords in G Phrygian mode
A#/BH Major D diminished D#/EH MajorG minor F minorG#/AH Major C minor
HVI HVIImVoIVmHIIIHIIIm
Chords in G Phrygian Mode
1 3 4 2 1 1 X 1 2 4 3 X X 1 3 3 3 XX(
1 2 3 4 1)1 3 4 1 1 1 1 3 4 1 1 11 3 4 2 1 1 X 1 3 4 2 1
6 fr 5 fr 8 fr3 fr1 fr
5 fr 3 fr
Here’s an example in G Phrygian mode.
Example 7.3 - G Phrygian Mode
X1 2 4 3XX1 3 4 2 11 3 4 1 1 1 1 3 4 1 1 1
5 fr3 fr3 fr 3 fr
VoIVm ImIm
D diminishedC minorG minor G minor
58 GUITAR ON THE SPOT III - COMMANDING THE CODE
G LYDIAN MODE
Here are the chords in G Lydian mode
G Major A Major B minor C#/DH diminished D Major E minor F#/GH minor
VIm VIImV#IVoIIImIII
Chords in G Lydian Mode
1 3 4 2 1 1 1 3 4 2 1 1 1 3 4 1 1 1 X 1 2 4 3 X X 1 3 3 3 XX(
1 2 3 4 1) X 1 3 4 2 1 X 1 3 4 2 1
3 fr 5 fr 7 fr 4 fr 5 fr 7 fr 9 fr
Here’s an example in G Lydian mode.
Example 7.4 - G Lydian Mode
X1 3 3 3XX(
1 2 3 4 1)1 3 4 2 1 1 1 3 4 2 1 1X1 2 4 3X
5 fr3 fr 3 fr4 fr
V#IVo II
D MajorG Major G MajorC#/DH diminished
EXPLORE SEVEN DIFFERENT WORLDS OF SONGS 59
G MIXOLYDIAN MODE
Here are the chords in G Mixolydian mode
G Major A minor C Major E minor F MajorD minorB diminished
VImIVIIIoIImI HVIIVm
Chords in G Mixolydian Mode
1 3 4 2 1 1 1 3 4 1 1 1 X 1 3 3 3 XX(
1 2 3 4 1) X 1 3 4 2 1 X 1 3 3 3 X
X(
1 2 3 4 1)X 1 3 4 2 11 2 3 1 X X
5 fr3 fr 3 fr 7 fr 8 fr5 fr7 fr
Here’s an example in G Mixolydian mode.
Example 7.5 - G Mixolydian Mode
X1 3 3 3XX(
1 2 3 4 1)1 3 4 2 1 1 1 3 4 2 1 1X1 3 4 2 1
3 fr3 fr 3 fr5 fr
IV II Vm
C MajorG Major G MajorD minor
60 GUITAR ON THE SPOT III - COMMANDING THE CODE
G AEOLIAN MODE (G MINOR MODE)
Here are the chords in G Aeolian mode (G Minor mode)
A#/BH Major D#/EH Major F MajorC minor D minorG minor A diminished
HVI HVIIVmIVmHIIIIIoIm
Chords in G Aeolian Mode (G Minor Mode)
1 3 4 2 1 1 X 1 3 3 3 XX(
1 2 3 4 1)X 1 3 4 2 1 X 1 3 3 3 X
X(
1 2 3 4 1)X 1 3 4 2 11 3 4 1 1 1 1 2 3 1 X X
6 fr 6 fr3 fr 8 fr5 fr5 fr3 fr
Here’s an example in G Aeolian mode (G Minor mode).
Example 7.6 - G Aeolian Mode (G Minor Mode)
X1 3 4 2 1X1 3 4 2 11 3 4 1 1 1 1 3 4 1 1 1
5 fr3 fr3 fr 3 fr
VmIVm ImIm
D minorC minorG minor G minor
EXPLORE SEVEN DIFFERENT WORLDS OF SONGS 61
G LOCRIAN MODE
Here are the chords in G Locrian mode
A#/BH minorG#/AH Major D#/EH MajorC#/DH Major F minorC minorG diminished
HVI HVIImHVIVmHIIImHIIIo
Chords in G Locrian Mode
1 3 4 1 1 11 3 4 2 1 1 X 1 3 3 3 XX(
1 2 3 4 1)X 1 3 3 3 X
X(
1 2 3 4 1) 1 3 4 1 1 1X 1 3 4 2 11 2 3 1 X X
6 fr4 fr 8 fr8 fr1 fr
3 fr3 fr
Here’s an example in G Locrian mode.
Example 7.7 - G Locrian Mode
1 3 4 2 1 1X1 3 4 2 1 X1 3 3 3XX(
1 2 3 4 1)1 2 3 1XX
3 fr3 fr 8 fr3 fr
HV IoIo IVm
G MajorC minor C#/DH MajorG diminished
62 GUITAR ON THE SPOT III - COMMANDING THE CODE
THE SEVEN MOODS
The seven modes (moods) you learned about in the previous chapter each have a scale
You can think of these seven modal scales in two ways:
1. As part of the Major scale each starting on a different note. 2. As an entirely new stand alone scale
1. Here they are as part of the Major scale:
The Seven MoodsCHAPTER
8
Ionian Scale (Major Scale)
1 2 3 4 5 6 7 1
Major scale note 1 to note 1
Dorian Scale
2 3 5 6 74 1 2
Major scale note 2 to note 2
THE SEVEN MOODS 63
THE SEVEN MODES
Phrygian Scale
3 6 74 5 1 2 3
Major scale note 3 to note 3
Lydian Scale
4 5 6 1 2 37 4
Major scale note 4 to note 4
Mixolydian Scale
5 6 7 1 2 3 4 5
Major scale note 5 to note 5
64 GUITAR ON THE SPOT III - COMMANDING THE CODE
THE SEVEN MODES
Aeolian Scale (Minor Scale)
6 7 2 31 4 5 6
Major scale note 6 to note 6
Locrian Scale
7 31 2 4 5 6 7
Major scale note 7 to note 7
THE SEVEN MOODS 65
THE SEVEN MODES
Ionian Scale (Major Scale)
1 2 3 4 5 6 7 1
1 2 3 4 5 6 7 1
Ionian scale
Major scale note 1 to note 1
=
Dorian Scale
2 3 5 6 74 1 2
1 2 4 5 6H3 H7 1
Dorian scale
Major scale note 2 to note 2
=
2. Here they are as entirely new stand alone scales:
I created these stand alone scales by re-numbering the notes. Read on to see an example of how I did this.
66 GUITAR ON THE SPOT III - COMMANDING THE CODE
THE SEVEN MODES
Phrygian Scale
1 2 3 4 5 6 7 1
1 4 5H2 H3 H6 H7 1
Phrygian scale
Major scale note 3 to note 3
=
Lydian Scale
4 5 6 1 2 37 4
1 2 3 5 6 7#4 1
Lydian scale
Major scale note 4 to note 4
=
THE SEVEN MOODS 67
THE SEVEN MODES
Mixolydian Scale
1 2 3 4 5 6 7 1
1 2 3 4 5 6 H7 1
Mixolydian scale
Major scale note 5 to note 5
=
Aeolian Scale (Minor Scale)
1 2 3 4 5 6 7 1
1 2 4 5H3 H6 H7 1
Aeolian scale
Major scale note 6 to note 6
=
68 GUITAR ON THE SPOT III - COMMANDING THE CODE
THE SEVEN MODES
At first, it’s easier to think of each modal scale as part of the Major scale, but eventually it’s more beneficial to think of each modal scale as a stand alone scale so you can switch and mix modes in the middle of a song. You’ll learn how to do that in a later chapter.
Locrian Scale
1 2 3 4 5 6 7 1
1 4H2 H3 H5 H6 H7 1
Locrian scale
Major scale note 7 to note 7
=
THE SEVEN MOODS 69
THE DORIAN MODE
To write each modal scale as an entirely new stand alone scale as I just did, you compare it to the Major scale and then re-number the notes
For example, here’s the Dorian scale step pattern:
Dorian Scale Step Pattern
WholeStep
WholeStep
HalfStep
WholeStep
WholeStep
WholeStep
HalfStep
2 3 5 6 74 1 2
Dorian Scale Compared to Major Scale
WholeStep
WholeStep
HalfStep
WholeStep
WholeStep
WholeStep
HalfStep
1 2 4 5 6H3 H7 13 7H2 H5 H6
Dorian Scale
1 2 4 5 6H3 H7 1
Dorian scale
To make the Dorian scale easy to remember, you can compare it to the Major scale, then re-number it in terms of the Major scale. When you do this, you’ll notice that it’s the Major scale with a H3 and a H7.
Here’s the Dorian scale rewritten in terms of the Major scale:
You do the same thing to create all the stand alone modal scales on the previous pages. Then you can use them to figure out the notes in any mode.
The next page shows you how to figure out the notes in any mode.
70 GUITAR ON THE SPOT III - COMMANDING THE CODE
The Notes in G Dorian Mode
FIGURE OUT THE NOTES IN G DORIAN MODE
2FIGURE OUT the Notes in that Mode
1PICK a Mode
Circle the rest of the notes in the mode by following the scale pattern of whole and half steps. Circle the rest of the notes in the G Dorian mode.
Pick a mode for your song. For example pick G Dorian mode. Start the Dorian scale on the note G.
Start onNote G 1
A B C D E FC#DH
A#BH
D#EH
F#GH G A B C D E FC#
DHA#BH
G#AH G G#
AHD#EH
F#GH
WholeStep
WholeStep
HalfStep
WholeStep
WholeStep
WholeStep
HalfStep
1 2 4 5H3 6 H7 1
A B C D E FC#DH
A#BH
D#EH
F#GH G A B C D E FC#
DHA#BH
G#AH G G#
AHD#EH
F#GH
Dorian Scale
1 2 4 5H3 H7 1
G A C D
6
E FA#BH G
Example 8.1
THE SEVEN MOODS 71
THE MODAL CHORD PATTERNS
To figure out the chords in any mode you just use the chord pattern for that mode
The chord patterns for each mode come from the Major scale chord pattern. You simply re-number the chords.
Major Scale Chord Pattern
1 2 3 4 5 6 17
Major ScaleChord Pattern
Notes
VIm VIIoI IIIm IIIm IV V
Major Scale Chord Pattern
The next few pages show you the chord patterns for each mode.
72 GUITAR ON THE SPOT III - COMMANDING THE CODE
IONIAN SCALE CHORD PATTERN
Ionian Scale Chord Pattern
1 2 3 4 5 6 17
ChordPattern
Notes
VIm VIIoI IIIm IIIm IV V
Ionian Scale Chord Pattern
Major Scale Chord PatternChord I to Chord I
=1 2 3 4 5 6 17
ChordPattern
Notes
VIm VIIoI IIIm IIIm IV V
THE SEVEN MOODS 73
DORIAN SCALE CHORD PATTERN
Dorian Scale Chord Pattern
2 3 5 6 74 1 2
ChordPattern
Notes
VIm VIIo IIIm IImIIIm IV V
Dorian Scale Chord Pattern
Major Scale Chord PatternChord IIm to Chord IIm
=1 2 4 5 6H3 H7 1
Im IIm HIII IV Vm VIo HVII ImChordPattern
Notes
74 GUITAR ON THE SPOT III - COMMANDING THE CODE
PHRYGIAN SCALE CHORD PATTERN
Phrygian Scale Chord Pattern
3 6 74 5 1 2 3
ChordPattern
Notes
VIm VIIo I IImIIIm IIImIV V
Phrygian Scale Chord Pattern
Major Scale Chord PatternChord IIIm to Chord IIIm
=1 4 5H2 H3 H6 H7 1
Im ImHII HIII IVm Vo HVI HVIImChordPattern
Notes
THE SEVEN MOODS 75
LYDIAN SCALE CHORD PATTERN
Lydian Scale Chord Pattern
4 5 6 1 2 37 4
ChordPattern
Notes
VIm VIIo I IIm IIImIV IVV
Lydian Scale Chord Pattern
Major Scale Chord PatternChord IV to Chord IV
=1 2 3 5 6 7#4 1
VIImI III IIIm #IVo V VImChordPattern
Notes
76 GUITAR ON THE SPOT III - COMMANDING THE CODE
MIXOLYDIAN SCALE CHORD PATTERN
Mixolydian Scale Chord Pattern
5 6 7 1 2 3 4 5
ChordPattern
Notes
VIm VIIo I IIm IIIm IVV V
Mixolydian Scale Chord Pattern
Major Scale Chord PatternChord V to Chord V
=1 2 3 4 5 6 H7 1
VIm HVIII IIIm IIIo IV VmChordPattern
Notes
THE SEVEN MOODS 77
AEOLIAN SCALE CHORD PATTERN
Aeolian Scale Chord Pattern
6 7 2 31 4 5 6
ChordPattern
Notes
VIm VImVIIo I IIm IIIm IV V
Aeolian Scale Chord Pattern
Major Scale Chord PatternChord VIm to Chord VIm
=1 2 4 5H3 H6 H7 1
Im IIo HIII IVm Vm HVI HVII ImChordPattern
Notes
78 GUITAR ON THE SPOT III - COMMANDING THE CODE
LOCRIAN SCALE CHORD PATTERN
Locrian Scale Chord Pattern
7 31 2 4 5 6 7
ChordPattern
Notes
VImVIIo VIIoI IIm IIIm IV V
Locrian Scale Chord Pattern
Major Scale Chord PatternChord VIIo to Chord VIIo
=1 4H2 H3 H5 H6 H7 1
Io IoHII HIIIm IVm HV HVI HVIImChordPattern
Notes
THE SEVEN MOODS 79
SUMMARY - ALL OF THE MODAL SCALES
1 2 3 4 5 6 7 1
Ionian scale
1 2 3 5 6 7#4 1
Lydian scale
1 2 3 4 5 6 H7 1
Mixolydian scale
1 2 4 5H3 H6 H7 1
Aeolian scale
1 4H2 H3 H5 H6 H7 1
Locrian scale
Summary - Here are all of the modal scales:
1 2 4 5 6H3 H7 1
Dorian scale
1 4 5H2 H3 H6 H7 1
Phrygian scale
80 GUITAR ON THE SPOT III - COMMANDING THE CODE
MINOR AND MAJOR FAMILIES
Modal scales with a H3 belong to the minor family
Minor Family
1 2 4 5 6H3 H7 1
Dorian scale
1 4 5H2 H3 H6 H7 1
Phrygian scale
1 2 4 5H3 H6 H7 1
Aeolian scale
Major Family
1 2 3 4 5 6 7 1
Ionian scale
1 2 3 5 6 7#4 1
Lydian scale
1 2 3 4 5 6 H7 1
Mixolydian scale
Modal scales with a normal 3 belong to the Major family
THE SEVEN MOODS 81
FIGURE OUT CHORDS IN G DORIAN MODE
Figure out the chords in G Dorian mode using the Dorian chord pattern
The Chords in G Dorian Mode
1 2 4 5H3 6 H7 1
G A B C D E FC#DH
A#BH
G#AH GD#
EH
Gm Am C Dm FA#BH GmD#o
EH
F#GH
Im
Chords in G Dorian
Notes in G Dorian
Dorian Chord Pattern
Dorian scale
IIm HIII IV Vm VIo HVII Im
The Chords in G Dorian Mode
Gm Am C Dm FA#BH GmD#o
EH
Im IIm HIII IV Vm VIo HVII Im
82 GUITAR ON THE SPOT III - COMMANDING THE CODE
FIGURE OUT CHORDS IN G DORIAN MODE
You can create chord diagrams for the chords inG Dorian mode
Just follow the steps you learned in Chapter 8 of Guitar On the Spot - Understanding the Code. Here they are again:
1. Choose a Chord Shape 2. Anchor the Chord Shape on the Root Note 3. Play the Chord
A#/BH Major E diminished F MajorC Major D minorG minor A minor
VIo HVIIVmIVHIIIIImIm
Chords in G Dorian Mode
1 3 4 2 1 1 X 1 2 4 3 X X 1 3 3 3 XX(
1 2 3 4 1)X 1 3 3 3 X
X(
1 2 3 4 1) X 1 3 4 2 11 3 4 1 1 1 1 3 4 1 1 1
6 fr 7 fr 8 fr3 fr 5 fr3 fr 5 fr
The next chapter shows you the seven modes of G and how to switch between them.
CHANGE MOODS IN THE MIDDLE OF YOUR SONGS 83
Change Moods in the Middle of Your Songs
CHAPTER
9
THE MODES OF G
You can change moods in the middle of your song by switching modes
We’ll look at some examples that switch between the different modes of G. Here are the seven modes of G again.
G Major A minor B minor F#/GH diminishedC Major D Major E minor
VIm VIIoVIVIIImIImI
Chords in G Ionian Mode (G Major Mode)
1 3 4 2 1 1 1 3 4 1 1 1 1 3 4 1 1 1 X 1 2 4 3 XX 1 3 3 3 XX(
1 2 3 4 1) X 1 3 3 3 X
X(
1 2 3 4 1) X 1 3 4 2 1
5 fr3 fr 7 fr 9 fr3 fr 5 fr 7 fr
A#/BH Major E diminished F MajorC Major D minorG minor A minor
VIo HVIIVmIVHIIIIImIm
Chords in G Dorian Mode
1 3 4 2 1 1 X 1 2 4 3 X X 1 3 3 3 XX(
1 2 3 4 1)X 1 3 3 3 X
X(
1 2 3 4 1) X 1 3 4 2 11 3 4 1 1 1 1 3 4 1 1 1
6 fr 7 fr 8 fr3 fr 5 fr3 fr 5 fr
84 GUITAR ON THE SPOT III - COMMANDING THE CODE
THE MODES OF G
A#/BH Major D diminished D#/EH MajorG minor F minorG#/AH Major C minor
HVI HVIImVoIVmHIIIHIIIm
Chords in G Phrygian Mode
1 3 4 2 1 1 X 1 2 4 3 X X 1 3 3 3 XX(
1 2 3 4 1)1 3 4 1 1 1 1 3 4 1 1 11 3 4 2 1 1 X 1 3 4 2 1
6 fr 5 fr 8 fr3 fr1 fr
5 fr 3 fr
G Major A minor C Major E minor F MajorD minorB diminished
VImIVIIIoIImI HVIIVm
Chords in G Mixolydian Mode
1 3 4 2 1 1 1 3 4 1 1 1 X 1 3 3 3 XX(
1 2 3 4 1) X 1 3 4 2 1 X 1 3 3 3 X
X(
1 2 3 4 1)X 1 3 4 2 11 2 3 1 X X
5 fr3 fr 3 fr 7 fr 8 fr5 fr7 fr
G Major A Major B minor C#/DH diminished D Major E minor F#/GH minor
VIm VIImV#IVoIIImIII
Chords in G Lydian Mode
1 3 4 2 1 1 1 3 4 2 1 1 1 3 4 1 1 1 X 1 2 4 3 X X 1 3 3 3 XX(
1 2 3 4 1) X 1 3 4 2 1 X 1 3 4 2 1
3 fr 5 fr 7 fr 4 fr 5 fr 7 fr 9 fr
CHANGE MOODS IN THE MIDDLE OF YOUR SONGS 85
THE MODES OF G
A#/BH Major D#/EH Major F MajorC minor D minorG minor A diminished
HVI HVIIVmIVmHIIIIIoIm
Chords in G Aeolian Mode (G Minor Mode)
1 3 4 2 1 1 X 1 3 3 3 XX(
1 2 3 4 1)X 1 3 4 2 1 X 1 3 3 3 X
X(
1 2 3 4 1)X 1 3 4 2 11 3 4 1 1 1 1 2 3 1 X X
6 fr 6 fr3 fr 8 fr5 fr5 fr3 fr
A#/BH minorG#/AH Major D#/EH MajorC#/DH Major F minorC minorG diminished
HVI HVIImHVIVmHIIImHIIIo
Chords in G Locrian Mode
1 3 4 1 1 11 3 4 2 1 1 X 1 3 3 3 XX(
1 2 3 4 1)X 1 3 3 3 X
X(
1 2 3 4 1) 1 3 4 1 1 1X 1 3 4 2 11 2 3 1 X X
6 fr4 fr 8 fr8 fr1 fr
3 fr3 fr
86 GUITAR ON THE SPOT III - COMMANDING THE CODE
CHANGE FROM DORIAN TO IONIAN MODE
Here’s an example with the verse in Dorian mode and the chorus in Ionian mode
Dorian and Ionian modes
Vm IVIVImVerse: Dorianmode
V VI IVIChorus: Ionianmode
Example 9.1 - G Dorian and G Ionian modes
Verse:G Dorianmode
Chorus: G Ionianmode
X1 3 4 2 11 3 4 1 1 1 X1 3 3 3XX(
1 2 3 4 1)X1 3 3 3X
X(
1 2 3 4 1)
5 fr3 fr 3 fr3 fr
VmIm IVIV
D minorG minor C MajorC Major
X1 3 3 3XX(
1 2 3 4 1)X1 3 3 3X
X(
1 2 3 4 1)1 3 4 2 1 1 X1 3 4 2 1
3 fr5 fr3 fr 7 fr
VImV IVI
C MajorD MajorG Major E minor
Notice that the verse is dark because Dorian mode is in the minor family and the chorus is brighter because Ionian mode is in the Major family.
To make the transition between modes smooth, you can use a transition chord that is in both modes. Notice that the last chord in the verse and the chorus is Chord IV, which is in both Ionian and Dorian mode. This is the transition chord.
CHANGE MOODS IN THE MIDDLE OF YOUR SONGS 87
CHANGE FROM MIXOLYDIAN TO AEOLIAN MODE
Here’s an example with the verse in Mixolydian mode and the chorus in Aeolian mode
Mixolydian and Aeolian modes
HVII IIVIVerse: Mixolydianmode
HVI IVm HVIIImChorus: Aeolianmode
Example 9.2 - G Mixolydian and G Aeolian modes
Verse: G Mixolydianmode
Chorus: G Aeolianmode
X1 3 3 3XX(
1 2 3 4 1)1 3 4 2 1 1 1 3 4 2 1 1X1 3 3 3X
X(
1 2 3 4 1)
3 fr3 fr 3 fr8 fr
IVI IHVII
C MajorG Major G MajorF Major
1 3 4 1 1 1 X1 3 3 3XX(
1 2 3 4 1)X1 3 4 2 1X1 3 3 3X
X(
1 2 3 4 1)
3 fr 8 fr3 fr6 fr
Im HVIIIVmHVI
G minor F MajorC minorD#/EH Major
Notice in this example that when you switch from the verse to the chorus there is no transition chord. You just abruptly switch from Chord I, G Major, to Chord Im, G minor. However, when you switch from the chorus back to the verse you use Chord HVII, F Major, which is a transition chord because it’s in both Mixolydian and Aeolian mode.
88 GUITAR ON THE SPOT III - COMMANDING THE CODE
How to Make Up Solos In Different Moods
CHAPTER
10THE MODAL SCALES
1 2 3 4 5 6 7 1
Ionian scale
1 2 4 5 6H3 H7 1
Dorian scale
1 4 5H2 H3 H6 H7 1
Phrygian scale
1 2 3 5 6 7#4 1
Lydian scale
1 2 3 4 5 6 H7 1
Mixolydian scale
1 2 4 5H3 H6 H7 1
Aeolian scale
1 4H2 H3 H5 H6 H7 1
Locrian scale
You use the modal scales to solo over songs in each mode (mood)
This chapter shows you the 5 scale patterns for each mode and an example of how to make up solos in G Mixolydian mode.
HOW TO MAKE UP SOLOS IN DIFFERENT MOODS 89
THE 5 IONIAN SCALE PATTERNS
17 2 3 4 5 6 7 1
17 2 3 4 5 6 7
2 3 4 5 6 7
3 4 5 6 7
5 6 7
6 7
1
1 2 3 4 5 6
1 2 3 4 5
1 2
1 2
3 4
17 2
17 2
2 3 4
3 4 5
5 6
6 7 1
2 3 4
2 3 4
3 4 5
5 6
6 7
7 1 2
1
3 4 5
3 4 5
5 6
6 7
7
2 3 4
1 2
1
5 6
5 6
6 7
73 4 5
2 3 4
1 2
1
6 7 1
6 7
7
1
5 6
3 4 5
2
1 2
3 4
Pattern 1
Pattern 2
Pattern 3
Pattern 4
Pattern 5
The Ionian Scale
90 GUITAR ON THE SPOT III - COMMANDING THE CODE
THE 5 DORIAN SCALE PATTERNS
1 2 4 5 6 1
1 2 4 5 6
2 4 5 6
4 5 6
5 6
6
1
1 2 4 5 6
1 2 4 5
1 2
1 2
4
1 2
1 2
2 4
4 5
5 6
6 1
2 4
2 4
4 5
5 6
6
1 2
1
4 5
4 5
5 6
62 4
1 2
1
5 6
5 6
64 5
2 4
1 2
1
6 1
6 1
5 6
4 5
2
1 2
4
Pattern 1
Pattern 2
Pattern 3
Pattern 4
Pattern 5
H3H3H7
H3 H7
H7H7H3H3H7
H3H7H3H7
H3
H3H7
H3H7
H3
H3
H7H3
H7
H7H3
H7H3
H3H7
H7
H7H3
H3H7
H7
H7H3
The Dorian Scale
HOW TO MAKE UP SOLOS IN DIFFERENT MOODS 91
THE 5 PHRYGIAN SCALE PATTERNS
1 4 5 1
1 4 5
4 5
4 5
5
1
1 4 5
1 4 5
1
1
4
1
1
4
4 5
5
1
4
4
4 5
51
1
4 5
4 5
54
1
1
5
5
4 5
4
1
1
1
1
5
4 51
4
Pattern 1
Pattern 2
Pattern 3
Pattern 4
Pattern 5
H3H3
H6 H7
H3 H6 H7
H6H6
H7H7H3H3H6 H7
H3H6 H7H3H7
H6
H2H2
H2
H2
H2
H2H2
H2
H3
H3
H6
H6 H7H3H7
H2
H2
H2
H3
H3
H6 H7H3H6
H7
H2
H2
H6
H6
H7H3H6 H7
H3
H2
H2
H3H6 H7
H6 H7
H6H7
H3
H2
H2
H3H7
H7
H6 H7H3
H6
H2
H2
H2
The Phrygian Scale
92 GUITAR ON THE SPOT III - COMMANDING THE CODE
THE 5 LYDIAN SCALE PATTERNS
17 2 3 #4 5 6 7 1
17 2 3 #4 5 6 7
2 3 #4 5 6 7
3 #4 5 6 7
5 6 7
6 7
1
1 2 3 #4 5 6
1 2 3 #4#4 5
1 2
1 2
3
17 2
17 2
2 3
3 #4 5
5 6
6 7 1
#4
2 3
2 3
3 #4 5
#4 5 6
6 7
7 1 2
1
3 #4 5
3 #4 5
#4 5 6
6 7
7
2 3
1 2
1
#4 5 6
#4 5 6
6 7
73 #4 5
2 3
1 2
1
6 7 1
6 7
7
1
#4 5 6
3 #4 5
2
1 2
3
Pattern 1
Pattern 2
Pattern 3
Pattern 4
Pattern 5
The Lydian Scale
HOW TO MAKE UP SOLOS IN DIFFERENT MOODS 93
THE 5 MIXOLYDIAN SCALE PATTERNS
H7
H7
H7
H7H7
H7
H7
H7
H7
H7
H7
H7
H7
H7
H7
H7
H7
Pattern 1
Pattern 2
Pattern 3
Pattern 4
Pattern 5
1 2 3 4 5 6 1
1 2 3 4 5 6
2 3 4 5 6
3 4 5 6
5 6
6
1
1 2 3 4 5 6
1 2 3 4 5
1 2
1 2
3 4
1 2
1 2
2 3 4
3 4 5
5 6
6 1
2 3 4
2 3 4
3 4 5
5 6
6
1 2
1
3 4 5
3 4 5
5 6
62 3 4
1 2
1
5 6
5 6
63 4 5
2 3 4
1 2
1
6 1
6 1
5 6
H7
H7
3 4 5
2
1 2
3 4
The Mixolydian Scale
94 GUITAR ON THE SPOT III - COMMANDING THE CODE
THE 5 AEOLIAN SCALE PATTERNS
1 2 4 5 1
1 2 4 5
2 4 5
4 5
5
1
1 2 4 5
1 2 4 5
1 2
1 2
4
1 2
1 2
2 4
4 5
5
1
2 4
2 4
4 5
51 2
1
4 5
4 5
52 4
1 2
1
5
5
4 5
2 4
1 2
1
1
1
5
4 5
2
1 2
4
Pattern 1
Pattern 2
Pattern 3
Pattern 4
Pattern 5
H3H3
H6 H7
H3 H6 H7
H6H6
H7H7H3H3H6 H7
H3H6 H7H3H7
H3
H3
H6
H6 H7H3H7
H3
H3
H6 H7H3H6
H7
H6
H6
H7H3H6 H7
H3
H3H6 H7
H6 H7
H6H7
H3
H3H7
H7
H6 H7H3
H6
H6
The Aeolian Scale
HOW TO MAKE UP SOLOS IN DIFFERENT MOODS 95
THE 5 LOCRIAN SCALE PATTERNS
1 4 1
1 4
4
41
1 4
1 4
1
1
4
1
1
4
41
4
4
41
1
4
4
4
1
1
4
4
1
1
1
1
41
4
Pattern 1
Pattern 2
Pattern 3
Pattern 4
Pattern 5
H3H3
H6 H7
H3 H6 H7
H6H6
H7H7H3H3H6 H7
H3H6 H7H3H7
H6
H5
H5
H5 H5H5
H5H5
H2H2
H2
H2
H2
H2H2
H2
H3
H3
H6
H6 H7H3H7
H5
H5
H2
H2
H2
H3
H3
H6 H7H3H6
H7
H5
H5
H5H2
H2
H6
H6
H7H3H6 H7
H3
H5
H5
H5H2
H2
H3H6 H7
H6 H7
H6H7
H3
H5
H5
H2
H2
H3H7
H7
H6 H7H3
H6
H5
H5
H2
H2
H2
The Locrian Scale
96 GUITAR ON THE SPOT III - COMMANDING THE CODE
MAKE UP SOLOS USING MODES
Once you’ve anchored Pattern 1, you can branch off into all the other patterns. Remember the notes in each pattern overlap. You can play any notes in this scale over your back-up song and they will sound good.
1CREATE a Back-Up Song in Any Mode!
3MAKE UP a Solo!
2ANCHOR a Scale Patternon the Root Note of that Mode!
Anchor note 1 of a modal scale pattern on the root note of that mode.
Anchor note 1 of Pattern 1 of the Mixolydian scale on note G because the back-up song is in G Mixolydian.
Create a Back-Up Song
Anchor Note 1 on the Root Note
H7
H7
H7
H7
AnchorNote 1on G
15
1 2
1 2
2 3 4
3 4 5
5 6
6 1
1 2
2
2 3 4
3 4 5
5 6
6 1
F#GH
F G
3rd 5th 7th 9th 12th
EADGBE
654321
1
Mixolydian ScalePattern 1
G Mixolydian scale
G Mixolydian scale
Solo Up and Down the Neck
Create a back-up song and record it.
This example is inG Mixolydian mode.
H7
H7
H7
H7
H7
H7H7
H7
G
3rd 5th 7th 9th 12th
654321 1 2 3 4 5 6
2 3 4 5 6
2 3 4 5 6
3 4 5 6
5 6
6 1 2 3 4 5 6
1 2 3 4
1 2
1
6
6
5
3 4
2
1 2
3
1
X1 3 3 3XX(
1 2 3 4 1)1 3 4 2 1 1 1 3 4 2 1 1X1 3 3 3X
X(
1 2 3 4 1)
8 fr3 fr 3 fr3 fr
HVII IVI I
F MajorG Major G MajorC Major
Example 10.1
HOW TO MAKE UP SOLOS IN DIFFERENT MOODS 97
MAKE UP SOLOS THAT FOLLOW YOUR SONG
Soloing Tip:
To make your solo follow the song:
Emphasize the numbered note of the chord that’s currently being played.
As the chords change, you change the numbered note that you emphasize.
Example 10.2 - Emphasize the Number of Each Chord
X1 3 3 3XX(
1 2 3 4 1)1 3 4 2 1 1 1 3 4 2 1 1X1 3 3 3X
X(
1 2 3 4 1)
8 fr3 fr 3 fr3 fr
3rd
5th
3rd
5th
3rd
5th
3rd
5th
3rd
5thH7
H7
H7
H7
WhenChord Iis beingplayed,emphasizenote 1
1
2
G
2
2
3
4
3
4
5
5
6
6
1
1
2
3
3
5
5
1
1
2
3
3
1 1
5
5
1
1
4
41
6
6
122
2
4
4
1
HVII IVI I
EmphasizeNote 1
EmphasizeNote H7
EmphasizeNote 4
EmphasizeNote 1
G Mixolydianscale
F MajorG Major G MajorC Major
Example 10.2
98 GUITAR ON THE SPOT III - COMMANDING THE CODE
THE 7 MIXOLYDIAN MODE CHORD FORMULAS
Soloing Tip:
To make up solos with more than one note at a time:
Emphasize the numbered notes in the chord formula of the chord that’s currently being played
Just like Major and minor keys, each one of the 7 chords in any mode has a chord formula that tells you which notes are in each chord.
For example, here are the Mixolydian mode chord formulas:
The 7 Mixolydian Mode Chord Formulas
Chord I
Chord FormulaChord
Chord IImChord IIIo
Chord IVChord VmChord VImChord HVII
531
642
H753
164
2H75
316
42H7
If you’re soloing when Chord Vm is being played, emphasize notes 5, H7 and 2 of the Mixolydian scale. You can play more than one note at a time in your solos by playing notes 5 and H7 at the same time or notes 5 and 2 at the same time, or all three notes, 5, H7 and 2 at the same time.
HOW TO MAKE UP SOLOS IN DIFFERENT MOODS 99
SOLO WITH MORE THAN ONE NOTE AT A TIME
When you solo, emphasize the numbered notes in each chord formula
As the chords change, you change the numbered notes that you emphasize.
When Chord I is being played in the example below, emphasize notes 1, 3 and 5, when Chord HVII is being played emphasize notes H7, 2 and 4, and when Chord IV is being played emphasize notes 4, 6 and 1.
This makes it really easy to make up great solos without ever knowingthe names of the notes you’re playing!
Example 10.3 - Emphasize the Numbers in Each Chord
X1 3 3 3XX(
1 2 3 4 1)1 3 4 2 1 1 1 3 4 2 1 1X1 3 3 3X
X(
1 2 3 4 1)
8 fr3 fr 3 fr3 fr
3rd
5th
3rd
5th
3rd
5th
3rd
5th
3rd
5thH7
H7
H7
H7
WhenChord Iis beingplayed,emphasizenotes 1, 3, 5
1
2
G
2
2
3
4
3
4
5
5
6
6
1
1
3
3
5
5
1
1
3
3
1 1
5
5
1
1
4
41
6
6
122
2
4
4
1
HVII IVI I
F MajorG Major G MajorC Major
EmphasizeNotes 1, 3, 5
EmphasizeNotes H7, 2, 4
EmphasizeNotes 4, 6, 1
EmphasizeNotes 1, 3, 5
G Mixolydianscale
Example 10.3
100 GUITAR ON THE SPOT III - COMMANDING THE CODE
THE MIXOLYDIAN MODE CHORD FORMULAS
To create the chord formulas in any mode, you just skip every other number
You use the same leap frog pattern that you used when you figured out the Major and minor key chord formulas.
The table below shows you all of the Mixolydian mode chord formulas. This is called “harmonizing the Mixolydian scale.”
The next part of this chapter shows you why Chords I, IV and HVII are Major chords, Chords IIm, Vm, and VIm are minor chords and why Chord IIIo is a diminished chord.
The Seven Mixolydian Mode Chord Formulas
1 42 53Chord I
Chord FormulaLeap Frog Every Other NumberChord
531
1 42 53 6Chord IIm 642
1 42 53 6 H7Chord IIIo
1 42 53 6 H7 1Chord VIm
H753
1 42 53 6 H7 1Chord IV
1 42 53 6 H7 1
2 3
1 42 53 6 H7 1Chord HVII 42 3
2Chord Vm
164
2H75
316
42H7
HOW TO MAKE UP SOLOS IN DIFFERENT MOODS 101
The Seven Mixolydian Key Chord Formulas
THE SPACING DETERMINES THE CHORD TYPE
Chord FormulaNote SpacingChord
Chord I
Chord IIm
Chord IIIo
Chord VIm
Chord IV
Chord HVII
Chord Vm
531
642
H753
164
2H75
316
42H7
1 42 53
42 53 6
4 53 6 H7
4 5 6 H7 1
5 6 H7 1 2
6 H7 1 2 3
H7 1 42 3
The spacing between the notes determines the type of chord
You can see the similarities and differences between the chords in the Mixolydian mode by lining them up and looking at the spacing between their notes. The spaces are actually frets.
102 GUITAR ON THE SPOT III - COMMANDING THE CODE
MAJOR CHORDS IN MIXOLYDIAN MODE
1 H3
4
samespacing
samespacing
2
Chord I531
Chord IV
Chord HVII
164
42H7 H7 42
1 42 53
4 5 6 H7 1
1 53
Majordefinition
531
Major Chords - I, IV and HVII
Chords I, IV and HVII are Major chords because their note spacing follows the definition of a Major chord
Notice that all of the notes line up in the figure below.
HOW TO MAKE UP SOLOS IN DIFFERENT MOODS 103
Minor Chords - IIm, Vm and VIm
H6 1
4
samespacing
samespacing
2
Chord IIm642
Chord VIm316
5 H7 2Chord Vm
2H75
42 53 6
6 H7 1 2 3
1 5H3
minordefinition
5H31
MINOR CHORDS IN MIXOLYDIAN MODE
Chords IIm, Vm and VIm are minor chords because their note spacing follows the definition of a minor chord
Notice that all of the notes line up in the figure below.
104 GUITAR ON THE SPOT III - COMMANDING THE CODE
Diminished Chord - IIIo
4
samespacing
samespacing
2
Chord IIIo
H753 4 53 6 H7
1 H5H3
diminisheddefinition
H5H31
THE DIMINISHED CHORD IN MIXOLYDIAN MODE
JESSE’S BIG PICTURE FOR MIXOLYDIAN MODE
You can create a Mixolydian mode version of Jesse’s BIG Picture
Using the 5 Mixolydian scale patterns and the Mixolydian mode chord formulas you can create a Mixolydian mode version of Jesse’s BIG Picture, just like you did for Major and minor keys.
This way you can see how the chords are hidden within the scale. See the next page.
Chord IIIo is a diminished chord because its note spacing follows the definition of a diminished chord
Notice that all of the notes line up in the figure below.
HOW TO MAKE UP SOLOS IN DIFFERENT MOODS 105
JESSE’S BIG PICTURE FOR MIXOLYDIAN MODE
H 7
H 7
H 7
H 7H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7H 7
H 7
H 7
642Chord IIm
Chord IV164
Chord VIm316
Chord I531
Chord IIIo
H 753
Chord Vm2H 75
Chord H VII42H 7
H 7
Mixolydian Scale1 2 3 4 5 6 1
1 2 3 4 5 6
2 3 4 5 6
3 4 5 6
5 6
6
1
1 2 3 4 5 6 H 7
1 2 3 4 5
1 2
1 2
3 4
6 1
6 1
5 6 H 7
H 7
3 4 5
2
1 2
3 4
5 6
5 6
63 4 5
2 3 4
1 2
1
3 4 5
3 4 5
5 6
62 3 4
1 2
1
2 3 4
2 3 4
3 4 5
5 6
6
1 2
1
1
1
5
31
3
5
5
3
1
1
3
53
1
1
3
51
1
1 2
1 2
2 3 4
H 7
42
44
2
2
4
4
22
42
2
4
3 4 5
5
5
52
5
5
5
2
25
52
2
5
52
2
5
5
5
3
5
3
3
3
53
3
53
3
5
6
6
6
6
6
31
36
63
1
3
6
63
13
6
6
1
1
36
6
6
6
4
2
264
2
2
4
62
22
2
4
6
6
2
2
2
46
1
6
6
41
4
6
4
41
4
4
64
1
1
4
4
4
6
6
1
1
4
4
6
1
1
1
3
5
5
1
112431
3421XX
12134X
XX1124
12431X
X
)
3331X(
14321X
X
)
11134(
411123
X
)
11134(
411123
X
)
3331X(
14321X
112431
3421XX
X
)
3331X(
14321X
X
)
11134(
411123
112431
3421XX
12134X
111431
2431XX
X2431X
X3124X
XX1124
111431
12431X
XX1124
111431
2431XX
X3124X
X3124X
14X32X
X3421X
X13X42
3421XX
12134X
2431XX
XX1321
66
6
1
1
6 11
6
1
5
H 72
H 7
H 7 H 72
H 7
2
H 7
H 7
2H 7
31
6
13
1
113
1
3
3
1
4
2
4
22
2
4
4
2 4
5
3 5 5
3
5
33
3
5
4
46
6
6
4
64
264
4
4
3 5
5
H 7
H 7
5 H 7
5
H 7
3
5
H 7
5
2
3
5
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5
Jesse’s BIG PictureMixolydian Mode Version
106 GUITAR ON THE SPOT III - COMMANDING THE CODE
How to Make Up Songs, Solos and Riffs in Different Moods Using Jesse’s Seven BIG Pictures for Moods
CHAPTER
11
JESSE’S BIG PICTURES FOR MODES (MOODS)
You can create a different version of Jesse’s BIG Picture for each mode (mood)
Using the scale patterns and the chord formulas you can create seven different versions of Jesse’s BIG Picture.
You’ve already created three of the seven BIG Pictures: the Mixolydian mode version in the previous chapter, the Ionian mode version, which is the same as the original Major key version of Jesse’s BIG Picture and the Aeolian mode version which is the same as the minor key version of Jesse’s BIG Picture.
The next seven pages contain Jesse’s BIG Picture for each mode. There is also an example of how to make up songs, solos and riffs in C Dorian mode at the end of this chapter.
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN DIFFERENT MOODS 107
JESSE’S BIG PICTURE FOR IONIAN MODE
1
1
3
5
5
1
2
2
46
7
3
3
5
7
1
4
4
6
1
7
2
5
5
7
1
36
6
7
2
47
17 2
17 2
2 3 4
3 4 5
5 6
6 7 1
2 3 4
2 3 4
3 4 5
5 6
6 7
7 1 2
13 4 5
3 4 5
5 6
6 7
7
2 3 4
1 2
1
5 6
5 6
6 7
73 4 5
2 3 4
1 2
1
6 7 1
6 7
7
1
5 6
3 4 5
2
1 2
3 4
3
3
57
3
3
5
7
7
3
5
73
37
5
3
3
4
4
4
6
6
1
4
4
64
1
1
6
4
41
6
6
41
4
2
5
5
7
2
5
5
5
7
7
2
5
5
75
2
2
7
5
52
3
6
6
1
3
6
63
1
6
63
1
6
6
6
31
3
2
47
7
4
74
27
74
2
7
42
4
3
51
13
53
1
1
5
5
3
1
1
1
1
5
31
3
2
2
4
6
6
2
4
62
26
4
2
2
6
6
4
2
2
Ionian Scale (Major Scale)17 2 3 4 5 6 7 1
17 2 3 4 5 6 7
2 3 4 5 6 7
3 4 5 6 7
5 6 7
6 7
1
1 2 3 4 5 6
1 2 3 4 5
1 2
1 2
3 4
642Chord IIm
Chord IV164
Chord VIm316
Chord I531
Chord IIIm753
Chord V275
Chord VIIo
427
112431
3421XX
12134X
XX1124
12431X
X
)
3331X(
14321X
X
)
11134(
411123
X
)
11134(
411123
X
)
3331X(
14321X
112431
3421XX
X
)
3331X(
14321X
X
)
11134(
411123
112431
3421XX
12134X
111431
2431XX
X2431X
X3124X
XX1124
111431
12431X
XX1124
111431
2431XX
X3124X
X3124X
14X32X
X3421X
X13X42
3421XX
12134X
2431XX
XX1321
33
3
5
5
3 5 5
3
5
2
46
4
4 46
4
6
6
4
64
75
3
57
5
5 57
5
7
7
5
1
6
1
66
6
1
1
6 1
2
7 2 2
7
2
77
7
2
13
1
3
3
1
31
631
1
1
7 2
2
4
4
2 4
2
4
7
2
4
2
7
7
2
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5
Jesse’s BIG PictureIonian Mode (Major Key) Version
108 GUITAR ON THE SPOT III - COMMANDING THE CODE
JESSE’S BIG PICTURE FOR DORIAN MODE
H3
H3H3H7
H3 H7
H7H7H3H3H7
H3H7H3H7
H3H7
H7
H7
H7H3
H3H7
H7
H7H3
H7H3
H7H3
H3
H3
H7H3
H7
H3
H3H7
H3
H3H3
H3
H3
H3
H3H3
H3
H3
H3
H3
H3
H7
H7
H7
H7
H7
H7
H7
H7
H7
H7H7
H7
H7
H7
H7
H7
H7
H3
H7
H7H3
H3
H7H3
H3H7
H3
H3
H3
H7H3
H7
H3
H3H7
642Chord IIm
Chord IV164
Chord VIo
H316
Chord Im5H31
Chord HIIIH75H3
Chord Vm2H75
Chord HVII42H7
Dorian Scale1 2 4 5 6 1
1 2 4 5 6
2 4 5 6
4 5 6
5 6
6
1
1 2 4 5 6
1 2 4 5
1 2
1 2
4
6 1
6 1
5 6
4 5
2
1 2
4
5 6
5 6
64 5
2 4
1 2
1
4 5
4 5
5 6
62 4
1 2
1
2 4
2 4
4 5
5 6
6
1 2
11 2
1 2
2 4
42
44
2
2
4
4
22
42
2
4
4 5
5
5
52
5
5
5
2
25
52
2
5
52
2
5
5
55
5
5
5
5
5
6
6
6
61
6
16
6
1
6
11
6
6
6
6
4
2
264
2
2
4
62
22
2
4
6
6
2
2
2
46
1
6
6
41
4
6
4
41
4
4
64
1
1
4
4
4
6
6
1
1
4
4
6
1
1
51
5
51
151
1
51
11
15
5
1
112431
3421XX
12134X
XX1124
12431X
X
)
3331X(
14321X
X
)
11134(
411123
X
)
11134(
411123
X
)
3331X(
14321X
112431
3421XX
X
)
3331X(
14321X
X
)
11134(
411123
112431
3421XX
12134X
111431
2431XX
X2431X
X3124X
XX1124
111431
12431X
XX1124
111431
2431XX
X3124X
X3124X
14X32X
X3421X
X13X42
3421XX
12134X
2431XX
XX1321
22
2
4
4
2 4 4
2
4
1
H35
H3
H3 H35
H3
5
5
H3
5H3
64
2
46
4
4 46
4
6
6
4
H7
5
H7
55
5
H7
H7
5 H7
1
6 11
6
1
66
6
1
H7
H72
2
2
H7
2H6
52H7
H7
H7
6 1
1
H3
H3
1 H3
1
H3
6
1
H3
1
6
6
1
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5
Jesse’s BIG PictureDorian Mode Version
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN DIFFERENT MOODS 109
JESSE’S BIG PICTURE FOR PHRYGIAN MODE
H 3H 3
H 6 H 7
H 3 H 6 H 7
H 6H 6
H 7H 7H 3H 3H 6 H 7
H 3H 6 H 7H 3H 7
H 6
H 2H 2
H 2
H 2
H 2
H 2H 2
H 2
H 3H 7
H 7
H 6 H 7H 3
H 6
H 2
H 2
H 2
H 3H 6 H 7
H 6 H 7
H 6H 7
H 3
H 2
H 2
H 6
H 6
H 7H 3H 6 H 7
H 3
H 2
H 2
H 3
H 3
H 6 H 7H 3H 6
H 7
H 2
H 2
H 3
H 3
H 6
H 6
H 6
H 6
H 6
H 6
H 6
H 7H 3
H 6H 3
H 6
H 3H 6
H 6
H 6
H 3
H 6
H 6
H 3H 6
H 3
H 6H 3H 6
H 6
H 6H 3
H 3
H 3
H 3
H 3
H 3
H 7
H 3
H 7
H 7H 3
H 3
H 7H 3
H 3H 7
H 3
H 3
H 3
H 7H 3
H 7
H 3
H 3
H 3H 7
H 2
H 2
H 7
H 7
H 7H 2
H 7
H 7
H 2H 7
H 7H 2
H 7
H 7
H 2
H 7
H 7
H 2
H 2
H 7
H 2H 7
H 2
H 7
H 2
H 2H 7
H 2
H 7H 2
H 2
H 6
H 2
H 2
H 2
H 6
H 6H 2
H 2H 6
H 2
H 2H 6
H 2
H 2
H 6
H 6
H 2
H 2
H 2H 64H 2
Chord H II
Chord IVm1H 64
Chord H VIH 31H 6
Chord Im5H 31
Chord H IIIH 75H 3
Chord Vo
H 2H 75
Chord H VIIm4H 2H 7
Phrygian Scale1 4 5 1
1 4 5
4 5
4 5
5
1
1 4 5
1 4 5
1
1
4
1
1
5
4 51
4
5
5
4 5
4
1
1
4 5
4 5
54
1
1
4
4
4 5
51
11
1
4
4
44
4
444
4
4
44
4
4
4
4 5
5
5
5
5
5
5
55
5
55
5
5
5
5
5
1
1
11
1
11
1
41
44
41
4
4
4
1
14
41
1
4
41
1
51
5
51
151
1
51
11
15
5
1
112431
3421XX
12134X
XX1124
12431X
X
)
3331X(
14321X
X
)
11134(
411123
X
)
11134(
411123
X
)
3331X(
14321X
112431
3421XX
X
)
3331X(
14321X
X
)
11134(
411123
112431
3421XX
12134X
111431
2431XX
X2431X
X3124X
XX1124
111431
12431X
XX1124
111431
2431XX
X3124X
X3124X
14X32X
X3421X
X13X42
3421XX
12134X
2431XX
XX1321
11
1
H 3
H 3
1 H 3 H 3
1
H 3
H 7
H 24
H 2
H 2H 24
H 2
4
4
H 2
4H 2
5H 3
1
H 35
H 3
H 3 H 35
H 3
5
5
H 3
H 6
4
H 6
44
4
H 6
H 6
4 H 6
H 7
5 H 7 H 7
5
H 7
55
5
H 7
H 6
H 61
1
1
H 6
1H 6
41H 6
H 6
H 6
5 H 7
H 7
H 2
H 2
H 7 H 2
H 7
H 2
5
H 7
H 2
H 7
5
5
H 7
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5
Jesse’s BIG PicturePhrygian Mode Version
110 GUITAR ON THE SPOT III - COMMANDING THE CODE
JESSE’S BIG PICTURE FOR LYDIAN MODE
6#42Chord II
Chord #IVo
16#4
Chord VIm316
Chord I531
Chord IIIm753
Chord V275
Chord VIIm#427
Lydian Scale17 2 3 #4 5 6 7 1
17 2 3 #4 5 6 7
2 3 #4 5 6 7
3 #4 5 6 7
5 6 7
6 7
1
1 2 3 #4 5 6
1 2 3 #4#4 5
1 2
1 2
3
17 2
17 2
2 3
3 #4 5
5 6
6 7 1
#42 3
2 3
3 #4 5
#4 5 6
6 7
7 1 2
13 #4 5
3 #4 5
#4 5 6
6 7
7
2 3
1 2
1
#4 5 6
#4 5 6
6 7
73 #4 5
2 3
1 2
1
6 7 1
6 7
7
1
#4 5 6
3 #4 5
2
7
7
2
#47
#42
#47
7#4
7
7
2
#4
7
7#4
2
7
7#4
2
1
1
#4
6
1#4
#4
6
1
#4
61
1#4
6#4
1
6
#4
#41
2
7
2
5
5
7
2
5
5
7
2
5
5
5
7
7
2
5
5
75
2
2
7
5
52
2
2
2
#46
#42
2
#4
6
6
2
#4
62
2#4
6#4
2
2
6
6
#4
2
2
3
1
36
63
6
6
1
3
6
63
1
6
63
1
6
6
6
31
3
7
3
3
5
7
3
3
57
3
3
5
7
7
3
5
73
37
5
3
3
1
1
3
5
5
1
3
51
13
53
1
1
5
5
3
1
1
1
1
5
31
3
112431
3421XX
12134X
XX1124
12431X
X
)
3331X(
14321X
X
)
11134(
411123
X
)
11134(
411123
X
)
3331X(
14321X
112431
3421XX
X
)
3331X(
14321X
X
)
11134(
411123
112431
3421XX
12134X
111431
2431XX
X2431X
X3124X
XX1124
111431
12431X
XX1124
111431
2431XX
X3124X
X3124X
14X32X
X3421X
X13X42
3421XX
12134X
2431XX
XX1321
77
7
2
2
7 2 2
7
2
6
13
1
113
1
3
3
1
31
#42
7
2#4
2
2 2#4
2
#4
#4
2
5
3
5
33
3
5
5
3 5
6
#4 6 6
#4
6
#4#4
#4
6
5
57
7
7
5
75
375
5
5
#4 6
6
1
1
6 1
6
1
#4
6
1
6
#4
#4
6
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5
Jesse’s BIG PictureLydian Mode Version
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN DIFFERENT MOODS 111
JESSE’S BIG PICTURE FOR MIXOLYDIAN MODE
H 7
H 7
H 7
H 7H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7H 7
H 7
H 7
642Chord IIm
Chord IV164
Chord VIm316
Chord I531
Chord IIIo
H 753
Chord Vm2H 75
Chord H VII42H 7
H 7
Mixolydian Scale1 2 3 4 5 6 1
1 2 3 4 5 6
2 3 4 5 6
3 4 5 6
5 6
6
1
1 2 3 4 5 6 H 7
1 2 3 4 5
1 2
1 2
3 4
6 1
6 1
5 6 H 7
H 7
3 4 5
2
1 2
3 4
5 6
5 6
63 4 5
2 3 4
1 2
1
3 4 5
3 4 5
5 6
62 3 4
1 2
1
2 3 4
2 3 4
3 4 5
5 6
6
1 2
1
1
1
5
31
3
5
5
3
1
1
3
53
1
1
3
51
1
1 2
1 2
2 3 4
H 7
42
44
2
2
4
4
22
42
2
4
3 4 5
5
5
52
5
5
5
2
25
52
2
5
52
2
5
5
5
3
5
3
3
3
53
3
53
3
5
6
6
6
6
6
31
36
63
1
3
6
63
13
6
6
1
1
36
6
6
6
4
2
264
2
2
4
62
22
2
4
6
6
2
2
2
46
1
6
6
41
4
6
4
41
4
4
64
1
1
4
4
4
6
6
1
1
4
4
6
1
1
1
3
5
5
1
112431
3421XX
12134X
XX1124
12431X
X
)
3331X(
14321X
X
)
11134(
411123
X
)
11134(
411123
X
)
3331X(
14321X
112431
3421XX
X
)
3331X(
14321X
X
)
11134(
411123
112431
3421XX
12134X
111431
2431XX
X2431X
X3124X
XX1124
111431
12431X
XX1124
111431
2431XX
X3124X
X3124X
14X32X
X3421X
X13X42
3421XX
12134X
2431XX
XX1321
66
6
1
1
6 11
6
1
5
H 72
H 7
H 7 H 72
H 7
2
H 7
H 7
2H 7
31
6
13
1
113
1
3
3
1
4
2
4
22
2
4
4
2 4
5
3 5 5
3
5
33
3
5
4
46
6
6
4
64
264
4
4
3 5
5
H 7
H 7
5 H 7
5
H 7
3
5
H 7
5
2
3
5
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5
Jesse’s BIG PictureMixolydian Mode Version
112 GUITAR ON THE SPOT III - COMMANDING THE CODE
JESSE’S BIG PICTURE FOR AEOLIAN MODE
H 3H 3
H 6 H 7
H 3 H 6 H 7
H 6H 6
H 7H 7H 3H 3H 6 H 7
H 3H 6 H 7H 3H 7
H 6
H 3
H 3
H 6
H 6
H 6
H 6
H 6
H 7H 3
H 3
H 7
H 3
H 3
H 3H 7
H 3
H 3
H 3
H 6
H 6
H 6
H 7H 3H 6
H 7
H 3
H 3
H 7H 3
H 7
H 6
H 6
H 7H 3
H 3
H 6
H 6
H 6
H 7H 3
H 3H 7
H 3
H 3H 6 H 7
H 6
H 6
H 7
H 6
H 6
H 6
H 7H 3
H 3
H 7H 3
H 3
H 3
H 3
H 7
H 7
H 6
H 6
H 6
H 7H 3
H 3
H 7
H 7H 3
H 6
2
5
5
H 7
2
H 3
H 6
H 6
1
H 3
2
4
H 7
H 7
2
5H 31Chord Im
Chord H IIIH 75H 3
Chord Vm2H 75
Chord H VII42H 7
Chord IIo
H 642
Chord IVm1H 64
Chord H VIH 31H 6
5
5
H 72
5
5
H 7
2
2
5
H 7
25
52
H 7
5
5
H 6
H 6
H 6
1
1
H 3
H 6
H 6
1H 6
H 3
H 3
1
H 6
H 6H 3
1
1
H 6H 3
H 6
4
H 7
H 7
2
4
H 7
H 7
H 7
2
2
4
H 7
H 7
2H 7
4
4
2
H 7
H 74
Aeolian Scale (Minor Scale)1 2 4 5 1
1 2 4 5
2 4 5
4 5
5
1
1 2 4 5
1 2 4 5
1 2
1 2
4
1 2
1 2
2 4
2
4
4 5
5
5
5
1
1
4
41
1
15
5
1
2 4
2 4
4 5
5
51
4
41
2
2
42
1
51
1
4 5
5
4 5
52 4
1 2
4
2
2
1
4
4
4
1
1
51
1
5
5
4 5
5
5
2 4
1 2
4
2
1
4
41
5
51
1
1
1
5
4
4
5
5
2
1
1
51
2
4
2
2
4
1
4
112431
3421XX
12134X
XX1124
12431X
X
)
3331X(
14321X
X
)
11134(
411123
X
)
11134(
411123
X
)
3331X(
14321X
112431
3421XX
X
)
3331X(
14321X
X
)
11134(
411123
112431
3421XX
12134X
111431
2431XX
X2431X
X3124X
XX1124
111431
12431X
XX1124
111431
2431XX
X3124X
X3124X
14X32X
X3421X
X13X42
3421XX
12134X
2431XX
XX1321
55
5
H 7
H 7
5 H 7 H 7
5
H 7
4
H 61
H 6
H 6 H 61
H 6
1
H 6
H 6
1H 6
2H 7
5
H 72
H 7
H 7 H 72
H 7
2
2
H 7
H 3
1
H 3
11
1
H 3
H 3
1 H 3
4
2 4 4
2
4
22
2
4
H 3
H 35
5
5
H 3
5H 3
15H 3
H 3
H 3
2 4
4
H 6
H 6
4 H 6
4
H 6
2
4
H 6
4
2
2
4
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5
Jesse’s BIG PictureAeolian Mode (Minor Key) Version
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN DIFFERENT MOODS 113
JESSE’S BIG PICTURE FOR LOCRIAN MODE
H 3H 3
H 6 H 7
H 3 H 6 H 7
H 6H 6
H 7H 7H 3H 3H 6 H 7
H 3H 6 H 7H 3H 7
H 6
H 5
H 5
H 5 H 5H 5
H 5H 5
H 2H 2
H 2
H 2
H 2
H 2H 2
H 2
H 3H 7
H 7
H 6 H 7H 3
H 6
H 5
H 5
H 2
H 2
H 2
H 3H 6 H 7
H 6 H 7
H 6H 7
H 3
H 5
H 5
H 2
H 2
H 6
H 6
H 7H 3H 6 H 7
H 3
H 5
H 5
H 5H 2
H 2
H 3
H 3
H 6 H 7H 3H 6
H 7
H 5
H 5
H 5H 2
H 2
H 3
H 3
H 6
H 6
H 6
H 6
H 6
H 6
H 6
H 7H 3
H 6H 3
H 6
H 3H 6
H 6
H 6
H 3
H 6
H 6
H 3H 6
H 3
H 6H 3H 6
H 6
H 6H 3
H 7H 5
H 3
H 7
H 7H 3
H 5
H 3
H 7H 3
H 5H 3H 7
H 3H 5
H 3
H 3
H 7H 3
H 7H 5
H 3
H 3H 7
H 5
H 3
H 5
H 5H 3
H 5
H 3H 5
H 5
H 3
H 5H 3
H 5
H 5
H 2
H 2
H 7
H 7
H 7H 2
H 7
H 7
H 2H 7
H 7H 2
H 7
H 7
H 2
H 7
H 7
H 2
H 2
H 7
H 7H 5
H 5H 2
H 7
H 5
H 5H 2H 7
H 5
H 5
H 5H 2
H 2
H 7
H 7
H 5
H 5
H 5H 2
H 7
H 5
H 5
H 2
H 2
H 6
H 2
H 2
H 2
H 6
H 6H 2
H 2H 6
H 2
H 2H 6
H 2
H 2
H 6
H 6
H 2
H 2
H 2H 64H 2
Chord H II
Chord IVm1H 64
Chord H VIH 31H 6
Chord Io
H 5H 31
Chord H IIImH 7H 5H 3
Chord H VH 2H 7H 5
Chord H VIIm4H 2H 7
Locrian Scale1 4 1
1 4
4
41
1 4
1 4
1
1
4
1
1
41
44
4
1
1
4
4
4
1
1
4
4
41
11
1
4
4
44
4
444
4
4
44
4
4
4
41
1
11
1
11
1
41
44
41
4
4
4
1
14
41
1
4
41
11
1
11
1
1
1
112431
3421XX
12134X
XX1124
12431X
X
)
3331X(
14321X
X
)
11134(
411123
X
)
11134(
411123
X
)
3331X(
14321X
112431
3421XX
X
)
3331X(
14321X
X
)
11134(
411123
112431
3421XX
12134X
111431
2431XX
X2431X
X3124X
XX1124
111431
12431X
XX1124
111431
2431XX
X3124X
X3124X
14X32X
X3421X
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3421XX
12134X
2431XX
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44
4
H 6
H 6
4 H 6 H 6
4
H 6
H 3
H 5H 7
H 5
H 5 H 5H 7
H 5
H 7
H 7
H 5
H 7H 5
1H 3
4
H 61
H 6
H 6 H 61
H 6
1
1
H 6
H 2
H 7
H 2
H 7H 7
H 7
H 2
H 2
H 7 H 2
H 3
H 3z H 3 H 3
H 3
H 3
51
H 3
H 3
H 2
H 24
4
4
H 2
4H 2
H 74H 2
H 2
H 2
1 H 3
H 3
H 5
H 5
H 3 H 5
H 3
H 5
1
H 3
H 5
H 3
1
1
H 3
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5
Jesse’s BIG PictureLocrian Mode Version
114 GUITAR ON THE SPOT III - COMMANDING THE CODE
MAKE UP SONGS USING JESSE’S BIG PICTURES
1PICK a Mode!
3PLAY Your Song, Solo or Riff!
2SELECT Chords From that Mode!
To make up songs, solos and riffs using any of Jesse’s Seven BIG Pictures just follow 3 steps:
The next page shows you an example of how to make up songs, solos and riffs in C Dorian Mode using Jesse’s BIG Picture for Dorian Mode.
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN DIFFERENT MOODS 115
MAKE UP SONGS, SOLOS AND RIFFS
1PICK a Mode!
Pick any mode for your song and anchor note 1 of that modal scale. Then pick a pattern of that modal scale to use to make up your song. There is no back-up song to play along with because you are creating the song.
1
H3H3H7
H3 H7
H7H7H3H3H7
H3H7H3H7
H3
H3
H7H3
H7
H3H7
H7
H7H3
H7H3 H7
H3H7
H3
H3
H7H3
H7
H3H7
H7
H7H3
H7H3 H7
H3H7
H3H7
H7
H7H3
H3H7 H7
H7
H3
F#GH
G#AH
A#BH
C#DH
D#EH
F#GH
F G A B C
C
D E F GEADGBE
654321
Dorian Scale
3rd 5th 7th 9th 12th
3rd 5th 7th 9th 12th
EADGBE
654321
C Dorian scale
Pattern 43rd 5th
C Dorian ScalePattern 4 C Dorian Scale
Pattern 4
=
1 2 4 5 6 1
1 2 4 5 6
2 4 5 6
4 5 6
5 6
6
1
1 2 4 5 6
1 2 4 5
1 2
1 2
4
1 2 4 5
2 4 5
2 4 5 6
4 5 6
5 6
6 1 2 4
1 2
1
4 5 6
4 5 6
5 6
62 4 5
1 2 4
1 2
1
C
CC
C
C
C
CC
C
3rd 5th 7th 9th 12th
EADGBE
654321 2 4 5
2 4 5
2 4 5 6
4 5 6
5 6
6 2 4
24 5 6
4 5 6
5 6
62 4 5
2 4
2
5 6
5 6
64 5
2 4
2
1 3rd
5th
5
6
5
6
6
4
5
2
4
C
2 1
Anchor Note 1 on the Root Note
Pick C Dorian Mode.
Pick a pattern of the Dorian scale. Pick Pattern 4 of the C Dorian scale.
Rotate the pattern from horizontal to vertical.
Anchor note 1 of the Dorian scale on the note C.
Example 11.1
116 GUITAR ON THE SPOT III - COMMANDING THE CODE
MAKE UP SONGS, SOLOS AND RIFFS
2SELECT Chords from that Mode!
Select ChordsChord Im Chord HVII Chord ImChord IV1st Chord 2nd Chord 4th Chord3rd Chord
Select Chords from Dorian Mode
Select chords from that mode. Then look up each chord diagram in the pattern that you picked in Step 1. In this example, I picked Pattern 4. When you select chords from modes you usually center your song around Chord I. Centering your song around a chord is the whole concept of modes. If you picked a chord other than Chord I, your song would be in a different mode.
H 3
H 3H 7
H 7
H 7
H 7H 3
H 3H 7
H 7
H 7H 3
H 7H 3
H 7H 3
H 3
H 3
H 7H 3
H 7
H 3
H 3H 7
H 3
H 3H 3
H 3
H 3
H 3
H 3H 3
H 3
H 3
H 3
H 3
H 3
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 7H 7
H 7
H 7
H 7
H 7
H 7
H 7
H 3
H 7
H 7H 3
H 3
H 7H 3
H 3H 7
H 3
H 3
H 3
H 7H 3
H 7
H 3
H 3H 7
642Chord IIm
Chord IV164
Chord VIo
H 316
Chord Im5H 31
Chord H IIIH 75H 3
Chord Vm2H 75
Chord H VII42H 7
6 1
6 1
5 6
4 5
2
1 2
4
5 6
5 6
64 5
2 4
1 2
1
4 5
4 5
5 6
62 4
1 2
1
2 4
2 4
4 5
5 6
6
1 2
11 2
1 2
2 4
42
44
2
2
4
4
22
42
2
4
4 5
5
5
52
5
5
5
2
25
52
2
5
52
2
5
5
55
5
5
5
5
5
6
6
6
61
6
16
6
1
6
11
6
6
6
6
4
2
264
2
2
4
62
22
2
4
6
6
2
2
2
46
1
6
6
41
4
6
4
41
4
4
64
1
1
4
4
4
6
6
1
1
4
4
6
1
1
51
5
51
151
1
51
11
15
5
1
112431
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12134X
XX1124
12431X
X)
3331X(
14321X
X
)
11134(
411123
X
)
11134(
411123
X
)
3331X(
14321X
112431
3421XX
X
)
3331X(
14321X
X
)
11134(
411123
112431
3421XX
12134X
111431
2431XX
X2431X
X3124X
XX1124
111431
12431X
XX1124
111431
2431XX
X3124X
X3124X
14X32X
X3421X
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3421XX
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2431XX
XX1321
22
2
4
4
2 4 4
2
4
1
H 35
H 3
H 3 H 35
H 3
5
5
H 3
5H 3
64
2
46
4
4 46
4
6
6
4
H 7
5
H 7
55
5
H 7
H 7
5 H 7
1
6 11
6
1
66
6
1
H 7
H 72
2
2
H 7
2H 6
52H 7
H 7
H 7
6 1
1
H 3
H 3
1 H 3
1
H 3
6
1
H 3
1
6
6
1
Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5
Example 11.1 - continued
Jesse’s BIG PictureDorian Mode Version
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN DIFFERENT MOODS 117
MAKE UP SONGS, SOLOS AND RIFFS
3PLAY Your Song, Solo or Riff!
Make Up A SongMake up a chord progression by strumming each chord.
Make Up A SoloUse this chord progression as your back-up song and make up a solo by playing theC Dorian scale and emphasizing the numbered notes in each chord formula.
Make Up A RiffMake up riffs by alternating between strumming each chord, playing the notes in each chord individually, and playing the notes in the C Dorian scale. Get the rhythm going first by strumming the chords. Then slowly start to mix in the individual notes.
Play Your Song
4
5
H3
5
H3
6
6
1
H3H7 H7
H7
H3 H3 H3
H7 H7
H7
5H31
Chord Im Chord HVII42H7
Chord Im5H31
Chord IV164
C DorianScale
Pattern 4
3rd
5th
3rd
5th
3rd
5th
3rd
5th
3rd
5th
5
6
5
6
6
4
5
2
4
C
2 1
4 2
2 6
4
4
1
5
5
1
1
5
5
1
1
X)11134(411123
3421XXX2431X X2431X
1st Chord 2nd Chord 4th Chord3rd Chord
Play the Numbered Notes in Each Chord
Play your song, solo or riff by looking up each chord that you selected in the Dorian mode version of Jesse’s BIG Picture and playing the numbered notes in each chord all at once or individually. Or mix them with the other notes of the Dorian scale to create interesting riffs.
Example 11.1 - continued
118 GUITAR ON THE SPOT III - COMMANDING THE CODE
FIGURE OUT THE NOTE AND CHORD NAMES
You can figure out the names of the notes and chords in your song
See the next page.
Name the Chords in the Previous Example
4
5
H3
5
H3
6
6
1
H3H7 H7
H7
H3 H3 H3
H7 H7
H7
C DorianScale
Pattern 4
3rd
5th
3rd
5th
3rd
5th
3rd
5th
3rd
5th
5
6
5
6
6
4
5
2
4
2 1
4 2
2 6
4
4
1
5
5
1
1
5
5
1
1
5H31
Chord Im Chord HVII42H7
Chord Im5H31
Chord IV164
C
X)11134(411123
3421XXX2431X X2431X
1st Chord 2nd Chord 4th Chord3rd Chord
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN DIFFERENT MOODS 119
FIGURE OUT THE CHORD NAMES
Use the Dorian chord pattern to figure out the chords in C Dorian Mode.3FIGURE OUT the Chords in that Mode
Example 11.2
2FIGURE OUT the Notes in that Mode
1PICK a Mode for Your Song
Circle the rest of the notes in that mode by following the scale pattern of whole and half steps. Circle the rest of the notes in C Dorian mode. These are the root notes for the chords in this mode.
In the previous example you picked C Dorian mode, so start the Dorian scale on C.
Pick C Dorian Mode
A B C D E FC#DH
A#BH
D#EH
F#GH G A B C D E FC#
DHA#BH
G#AH G G#
AHD#EH
F#GH
WholeStep
WholeStep
HalfStep
WholeStep
WholeStep
WholeStep
HalfStep
1 2 4 5H3 H6 H7 1
A B C D E FC#DH
A#BH
D#EH
F#GH G A B C D E FC#
DHA#BH
G#AH G G#
AHD#EH
F#GH
Dorian Scale
Chords in C Dorian Mode
1 2 4 5H3 6 H7 1
A BC CD E FC#DH
A#BH
G#AHGD#
EH
Cm Dm F GmD#EH
A#BH CmAo
F#GH
Im
Chords in C Dorian
Notes in C Dorian
Dorian Chord Pattern
Dorian scale
IIm HIII IV Vm VIo HVII Im
120 GUITAR ON THE SPOT III - COMMANDING THE CODE
FIGURE OUT THE CHORD NAMESExample 11.2 - continued
5LOOK UP the Name of Each Chord
4LOOK at the Roman Numeral of Each Chord in Your Song
Previous Example
4
5
H3
5
H3
6
6
1
H3H7 H7
H7
H3 H3 H3
H7 H7
H7
C DorianScale
Pattern 4
3rd
5th
3rd
5th
3rd
5th
3rd
5th
3rd
5th
5
6
5
6
6
4
5
2
4
2 1
4 2
2 6
4
4
1
5
5
1
1
5
5
1
1
5H31
Chord Im Chord HVII42H7
Chord Im5H31
Chord IV164
C
X)11134(411123
3421XXX2431X X2431X
1st Chord 2nd Chord 4th Chord3rd Chord
Cm Dm F GmD#EH
A#BH CmAo
Im IIm HIII IV Vm VIo HVII Im
The Chords in C Dorian Mode
HOW TO MAKE UP SONGS, SOLOS AND RIFFS IN DIFFERENT MOODS 121
FIGURE OUT THE CHORD NAMES
6WRITE in the Name of Each Chord
Example 11.2 - continued
Previous Example with Chord Names
4
5
H3
5
H3
6
6
1
H3H7 H7
H7
H3 H3 H3
H7 H7
H7
C DorianScale
Pattern 4
3rd
5th
3rd
5th
3rd
5th
3rd
5th
3rd
5th
5
6
5
6
6
4
5
2
4
2 1
4 2
2 6
4
4
1
5
5
1
1
5
5
1
1
5H31
Chord Im Chord HVII42H7
Chord Im5H31
Chord IV
C minor Major C minorF Major
164
C
A#BH
X)11134(411123
3421XXX2431X X2431X
1st Chord 2nd Chord 4th Chord3rd Chord
TIME TO PUT IT ALL TOGETHER
Now it’s time to put it all together
The next chapter puts it all together into one diagram called Jesse’s Detailed BIG Picture.
Jesse’s Detailed BIG Picture
Part 3
JESSE’S DETAILED BIG PICTURE 123
Jesse’s Detailed BIG Picture
CHAPTER
12
JESSE’S DETAILED BIG PICTURE
Jesse’s Detailed BIG Picture shows you all the notes and all the chord formulas from all the modes so you can just look at one diagram and rock
Now that you know the Major scale and all the modes, you can mash them all together into one diagram. So now the guitar looks like one huge code. It’s the Major scale with all the inbetween notes. The Expanded code.
Below the code I made a table that shows you all the chord formulas from all the modes. So now when you make up a song, solo or riff you just pick a key by starting the code on any note. Then play any of the chords in the table by playing the numbered notes in their chord formula.
Now you’ve got a lot more chords to choose from.
Congratulations! That’s It! I hope you enjoyed this course as much as I enjoyed creating it. I expect to hear your songs soon!
Sincerely,
Jesse
124 GUITAR ON THE SPOT III - COMMANDING THE CODE
JESSE’S DETAILED BIG PICTURE
17 2 3 4 5 6 7 1
17 2 3 4 5 6 7
2 3 4 5 6 7
3 4 5 6 7
5 6 7
6 7
1
1 2 3 4 5 6
1 2 3 4 5
1 2
1 2
3 4
Chord IV164
Chord VIm316
Chord I531
Chord IIIm753
Chord V275
Chord VIIo
427
H64H2
Chord HII
Chord IVm1H64
Chord HVIH31H6
Chord Vo
H2H75
Chord HVIIm4H2H7
6#42Chord II
Chord #IVo
16#4
Chord VIIm#427
642Chord IIm
Chord VIo
H316
Chord Im5H31
Chord HIIIH75H3
Chord Vm2H75
Chord HVII42H7
Chord IIIo
H753
Chord IIo
H642
Chord Io
Major minor
25 Chords To Usediminished
H5H31
Chord HIIImH7H5H3
Chord HVH2H7H5
H2 H3H2 H3
H5 H6 H7
H2 H3 H5 H6 H7
H5 H6H5 H6
H7H7H2 H3
H2 H3H5H5
H6 H7H2 H3H5 H6 H7
H3H7
Jesse’s Detailed BIG Picture