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  • Virtual Music Computer Synthesis of Musical Style

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    Richard Bachman
    77 Ansichten48 Seiten
    Musical style

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    0262532611 - Virtual Music Computer Synthesis of Musical Style

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    77 Ansichten48 Seiten

    Virtual Music Computer Synthesis of Musical Style

    Hochgeladen von

    Richard Bachman
    Musical style

    Copyright:

    © All Rights Reserved
    Als PDF herunterladen oder online auf Scribd lesen
    Markieren Sie unangemessene Inhalte
    von 48
    Learn Guitar Fast! a Music Theory Reading Music, Scales, Modes, Chords Introduction Some ofthe word's greatest guitarists cannot read musical notation ~it is not «essential ifyou know your chords and can use TAB ~ but being able to read music canbe an extremely useful sil, especially if you ate teaching yourself orf you spend a lot of time playing new music at sessions or jams. For beginners, a shest of lines, black blobs and unfamiliar symbols can be rather daunting to say the Teast, but with the help of this no-nonsense guide you will soon find yourself sailing through pieces without even thinking about how they are written, This book is divided into three sections; the first guides you. through the stages of learning to read musical notation, from the basic level of key signatures and clefs, through the uses of notes and rhythms, tothe more complex issues of harmony, and dynamics. With clear explanations, accompanied by plenty of diagrams and examples, you will soon find yourself progressing onto the more advanced performance material, such as ornamentation and accents. The second part concentrates on ways in which you can employ your new musical knowledge. Being able to transpose, recognise and reproduce melodies and chords can be very handy if you play in a band. There is also information on how to improve your improvisation skills ~ invaluable for lead guitarists or for those who play in regular jam sessions, The third section details the types of scale used in a wide range of different "musical styles, from the commonly used major and minor scales to some of the rote obscure varieties found in jazz and folk music, Knowing your scales can help with improvising, as well as wher writing your own compositions Notations and fretboxes are provided for all the scales, enabling you to ‘experiment with the various sounds and moods they create. Contents The Basics Reading Music key Signatures Time Signatures Note Values . Tabiatute, Chord Charts Tempo, Thning, Dynamics, Melody & Harmony Modulation, Phrasing & ommamentation intervals cadences Repeats Coda, Candenza & Classical Music Terms. Using It Phrases, Chords iff a Licks Improvising Scales Seales Resource Altered Scale 24 30 8 40 Blues Scale Chromatic Scale Country Scale Diminished Scale 2 Darian Enigmatic Seale Jarmonic Minto Scale 4 onian Modal Sc azz Melodic Minor 5 Locrian Modal Scale 4a Lydian Dominant Modal scale lydian Modal Scale Major Scale Melodic Minor Seale Mixolydian Modal Natural Minor Seale 4 Neapolitan Major Seale Neapolitan Minor Seale Pentatonic Major Scall ar Pentatonic Minor Seah Phrygian M Phryg} Index 48 a The Basics Reading Music Although notation for electric and acoustic guitar soften written In TAB, this has the limitation of not including the rhythmic values, so knowing the sound of the ‘music or listening to an accompanying audio version becomes necessary. However, treble lef notation dos not have this limitation, making the ability to read musica useful asset - particularly ifyou intend to pursue guitar playing to a professional Learning To Sight-Read ihsic The first requirement is to look ahead in the score looking at a note nmly as you are about to play it will result, sooner oF later in a problem. By looking ahead you prepared for anything difficult. The ideal p ac ahead is before you start try to memorise the first bar, or more if you can.Then if you can keep laaking thing 5 ys hay ahead as you play. you'l al ce. Once you start playing the plece itis important to keep your eyes on the music. Avoid the temptation to leok ir place in the music. at the guitar fingerboard, as this may cause you to lose y ook at how a good touch typist operates: by neve Here are a few other essentials for reliable sight-reading + Look at the key signature and the time signature before you. forgetang either of these will cause errors + Once you know the key of the piece, practice the key scale, then use this scale ingzring when you play the piece. As you can rely 0” the seale you won't need to keep looking at the fingerboard to find where to put your fingers + Sean through the piece before you play it, trying to identify any awkward shythms or combinations of notes. I there's time, take the difficult passages aside and practise them separately. Avord the fally ifthe first few smptation to play the piece tov fast, esp bart look easy. Base your tempo on the speed at which you can perform the most difficult bar ‘happens, do net stop. All musicians make: rors when Teadi Water at the best ones de net let the audience know. The mast imp is to Keep going and capture the overall shape of the music. is far bet‘er rong notes than to! K tocorrect enor Clers music nota ion for g (particutamly classical staff of five lines, Each line, and each space between the lines, repre ifferent note, The pitch of teach line and space is determined by the 180 of the troble clef (alse known as the G clef] that is writ at the very st as leger ‘each line of music. Temporary extra lines, know lines. are used for any notes that are either too high or too low to fit on the staf a Ba let Fer the lower notes required by bass guitarists the bass clef (also known as the Fdef) ic used, Accidentais ise tts piteh by a ser A sharp sign (I can be placed. one ithe equivalent of o ret higher). flat sign () can be placed before z note to lower its pitch by a semitone. Any sharps or flats will apply to all notes of the same pitch within the bar, A natural sign @} on tl pace cancels the previous sharp or flat The key of a pigce of mu: jet jonality and the main n {that will be included. in music notation the key of any Jentified by the "key sign: \¢ beginning of every ine o! nusic. Each majar key: collection of sharps or flats written in a set order; these shai those that occur im the major scale for that key. Using a key signature makes to read as any sharps and flats from the key can once at the start of each fine and will then apply to all hase he piece, rather than having ta write a sharp or flat sign every time such a not The key of € major is unusual in that no sharps or flat and therefore the y signature is blank Minor Keys 01 keys share key signatures with their relative major keys (le. major keys that have a keynote three sernitones higher than the minor key).You can tell whether a piece of music fs in the major or minor key either by the chords that accompary the music or by the start or end notes. Music in minor keys may also clude ital! notes taken from the melodie or harmonic minor scale ety 2 Bet ee Gmejor major Amajor Emajor — B major Eminor Bminor Fiminor Czminor Ge Fmajor B.major £: major A.major — D» major G. major Dminor Gminor Cminor F minor — B»minor E+ minor ra Time Signatures time signature is a sign placed after the clef at the beginning of a piece af ndicate its metre. Time signatures usually consist of twe numbers, an) upper one and a lower one, The upper number refers to the number of beats in ‘each bar while the icates the value of each beat. Thus a signature off 1eans that there are four beats to every bar and each beat is worth a crotchet (or quarter note). Likewise, a sig means there are six beats to re of 8 meal beats at als are worth a quaver (or eighth note), and means there el are three beats to yy bar and each beat is a minim (or half n Phythms and Timing itis important that a guitarist can ¥ .gnise the time signature af a piece of music, this is one of the most impo ant factors in establishing its feel and groove. The mast common ti 4, me signatures in popular music are sop and rock songs lads and country mu 4 4 12 8 often used In blues and jazz Learning to keep ti nd reaintain an even pulse im these time signal basic prerequisite for becorr «a good guitarist. Playing along with a nome, Cas» prove really helpful in developing these skills. Bar/Bar-Line A barine isa vertical ime drawn through a music staff or guitar tablature to mark off metric units, Each bar in a piece of music is the same length unless there are time signature changes within the p Many bands we a count-in of one bar 1en they play a sang Hive to make sure they all start together. Bars in so that musicians « rn easily find a specific phrase or passage in the music they are playing, whole note half notes quarter notes ‘16th notes Note Values The rhythim of a piece of music is written down otes and rests, The type of note used tells you how many beats a note er chord lasts for, whilst the type ot rest used tells you how many beat: lasts for The diagram ile below shows the names of the most common types of notes, the symbals for note cam occur ina single bar in tie them, and how many af each ty Notice that two or more quavers or semiquavers may be written beamed together. semibrave ‘semiquavers ne table below shows the names of the mast common types of rests, the symbols. fora ne nte equates andthe dration ofeach ype fet in sine Nome | Rest symo0) | Note Equnaient | Duration in § te - ° ess minimrest Ganen g J am | oy d a res q d ota beat Dotted Kotes na Dated mini (Dotted half note} A dot aftera note or rest means that, the note or rest lasts for half as long again. The chart below shows th Dotted er (Dotted quarter values of dotted notes and dotted Ties Atie fs used to join to ame piteh, to increase the duration of the note. In the example right, the C note would be held for the equivalent of five tis not possible to use a dot after the initial Cas this would have increased the duration of the note to she equivalent of six eighth notes ‘Another common instance where ties are used Is across bar lines. to enable a note to last Deyend the end of a bar Inthe example right, a tle has tobe used so that the C note at the end of bar one can sound for three bea Ties can be used to Join any number of notes of the same pitch. in this example, the C note is only sounded once but lasts for 12 beats, Triplets A triplet sign indieates where three notes should be played in the space of two notes of the same value ot Tablature Music for electric guitarists is often written fn Lablature (TAB) rather than standard music notation, TAB uses six lines to represent the six trings ef the guitar, with the top i presenting the high € string and the bottom line representing the low E stiing. The numbers witten on the lines indicate which fet to play at, A ze10 indicates that the string is played open. 1 simplicity of TAB makes It an ideal method of quickly positions of music that you have either heard before or can ding the fret ssa recording of, however'as it does not normally include any rhythm indications you will not be able to use TAB to accurately play rriusic that you haven't heard before Chord Charts Chord charts are the most commonly u d method of natating a chord. progression. The time signature is vaitten at the beginning and then each bar is indicated by a vertical Iine, with two lines to indicate the end of the piece Chords are indicated by rd symbols. The exact rhythm style that is played is left up to the discreti he performer, who should take cues from the tempo, style and mood of ¢ e song. 4G7Emz|C7vAmz| D gs. ror gene a more common rast Pitch ‘early all classical guitarists read music, but ifas an electric guitarist you feel that such still are less important it s still essential, perhaps even move so, to develop essible knowledge of the location ofall the notes om the a full and instantly fingerbo: Having a secure knowledge of which notes occur on which frets is a prerequisite for advanced improvising, as well as providing a secure foundation for chord playing across all areas of the frctbnans Rather than attempting to learn all the notes on the fretboard in one yu. itis better to focus on studying a section ‘etboard allows It to be naturally at a time. Fortunately, the make-up of the gutt analysed indistinct fingerboard postions (often known as box shapes), The rx useful ofthese fingerboards positions are shown below Open Position The diagram on the left shows all the notes that can be played in position’ = ie, ran ing from the open string to no higher than the fourth fret on each string ‘The numbers in circles refer to the string numivers, whilst the smaller numbers tefer te the fret at which the note occurs. The nate names are shown abo the notation; whether the sharp or flat spelling of anate is used depends upon the key~ie whether itis a sharp or flat key (see Key Signatures’ page 6), Fiith Position The diagram on the left shows all the notes that can be played in Firth position’ ~ie.starting from the fith fret and ranging nic higher than the eighth fret oneach string Winth Position The diagram on the right shows 5 that can be played in’ninth position’= ie, starting fromm the ninth fret and ranging no higher than the twelfth fret Voicing You may notice that, a from the very lawror high notes, most notes on the g can be played at exa the same pitch in a number of different finger rd positions. Although the pitch will remain the same, each note will have a slightly ferent tone or voice’ depending upan the thickness of the string on which it is, played. For example, the £ note of the open high € string can also be played at th ret on the R string h fret © string, the four nth fret on the D string or even the mtineteenth fret on the A string When reading a piece of music improvising a sola, itis important to think ahead and cho the optimum fingerboard position so as to avoid unnecessary and awkward fretboard leaps. Rhythm When most people begin learning to read music it is usually not the pitches of after a while the note names and their notes that prove difficult torr fingerboard location become familiar ~ rather it isthe thythms (Fe, the bination of note values) that seem problematic. At first it appears as thouch there may be an infinite number of possible note value combinations, in reality however 90 per cent of music relies on common rhythm patterns. Once you learn these thoroughly, and you can spot a bar er two of a familiar rhythmic pattern, it makes reading rausic easier. In fact once you recognise the most common rhythm patterns you'l find that any other rhythms tend to be merely variations of the patterns you already know. Students have a tendency to count just one beat of hythm at a time. Infact, just as with written language, where a reader looks for the word rather than considering individually each letter that makes up that word, It is far better to ognise short but complete rhythmic phrases. This is the method that ght readers, such as orchestra} players and session musicians, Reading Rrythm Start with a sin e four-beats-per-bar rhythm to establish a steady pulse, and. then try some variations on this rhythm by adding eighth notes, Repeat each of the following & ses until you know them from memory. ross the barline, 2s fea to try and memarise rhythms that carry on aK very few melodic phrases are contained within just one bar. ee Dotted nates seem complicated to count at first, but once you 1e the main tg rec09 ted note rhythmic patterns you will ealise that a dotted note always has the same fac te to lengthen the basie note and add a certain lit to the music. For example, when dotted quarter notes ar# followed by eighth nates this gives the effect of ‘long-short-long-short Sileaces within musi¢ are as imps tant to the rhythm as the notes that you play, refore make sure that you observe any rests that occur in the music Ties have the etfect of lengthening notes. so eneure that the tied note is held on fer its full value Arthoug tsa good wea to stat by learning shythmsin time, ustedees of urse occur in other time signat 7 so ance you feel confident in reading in ‘ eee eee 283 4 586 — Types of Rhythm ach style of music has its awn core thythnn pattern which helps give tt a unigue identity, Some examples of these are given below for a range of popular musie styles. OF course, this doesn't imply that only these rhythms are used ~ there ate ‘many possible variations and exteptions ~ but these core rhythms are a common feature of many songs in each particular musical style Pop ‘The PM symbol below a note indicates a downstrur, and the V symbol indicates an upstrim. This combination of down and up strumming gives a light flowing feel to the music. c c 6 D ; ASS Ss Roca Lising fifth power cherds and only striking the bass strings with all downstrums immediately gives a hard-edged rock sound. For an even heavier rock sound, ‘mute the strings slightly by pressing against them lightly with the strumming nd and use a distortion pedal or some overdrive on your mp Gs Ds cs cs PPIAV IAA LV dd A= 04-940 A ddd APA “ Blues 22, ver shan in time rather sh Blues songs, particularly slow blues, are usually play straight time so converting any chord proaession into wl instantly ahi it sminant seventh or ninth chords are used «4 bluesy feel — especially thier than standard major chords, Country w styles of popular Whilst mary county songsarein 4 ime ts one of music te also use 3 time quite often ~ particularly in country ballads, crisp, staccate sound, Punk Funk rhythm playing normally contains short and busy, but crisply played, ee or four strings from each chord, rhythm patterns, often using only the top d so that the musical result is Aight and relaxed strumming action is requ thythmically tight anor Spall Gmajr ¥ z peer h er need Tempo The term tempo’ refers to how slow or fast a piace of music is played. Fer il to sound as the composer intended. it is crucial toplay each plece of music at the appropriate tempa. In classical music the tempo indication is often given mn words (usually (allan), whereas in pep music 2 metronorne marking is usually written, The most common tempos are shown below. ttalian term Meaning Approximate speed very slow 40-60 bpm. Adagio slow 60-76 bpm. Andante walking pace 76-100 bp.n Moderato | moderate tempo 100 ~ 120 bpm. Allegro fast 120-160 pm Presto very quick 160 - 200 b.o.m. Metronome Markings The metronome marking tells you the number of beats per minute (b.p.m. that the music example, the top left box tells you to play at ‘ould be played at Metronome markings are normally shown with a quarter-note beat, however sometimes other note values are used. For example see the box on the left Timing musicians. Nc ice players can all too easily fall into the trap of unwittingly Slowing cov at difficult sections n a piece of music, and unnecessarily speeding up during easy or exciting sections. The best way to overcome this is to practice regularly with a metronome or drum machine. Always practice a piece at the speed at which you can manage the most technically dificult section = is avolds the situation of starting at too fast 1en having te slow down midway, Dynamics ‘A piece of music that was played at exactly the sarne volume ti ‘ouughout cou become horing to listen to, whereas contrasts between solt and loud sections can really help to bring out the mood anu rnusical features of a piece. m pop music the flume changes are often left to the disctetion of the performer.In class most composers Ws M carefully notate the dynamics (changes in volume) throughout Using dynamics markings. The most cornmon of these are sh Symbo! Name Meaning mp pianissimo very soft Pp piano sol np mezz0-piano, ‘medium son nf mezzo-forte medium loud f fone loud tt fortissime very loud = cress getting ude: diminuendo getting softer Melody and Harmony at vary in pitch an 1m 'melody' refers to any series of single notes tI a recognisable musical shape. tn other words the melody is what is commonly knowm asthe tune’, Single-line melodies are rarely played just by one guitarist alone as the sound would be rather thin, instead electric guitarists tend te play ‘melodies when accompanied by other instrumentalists, whilst clasefcal guitarists ‘might play melodies in an ensemble with other guitarists. Of course, one of the great features of the guitar is that skilled players can play a melody at the same time as playing a harmonised accompaniment (normally on the lower strings) Modulation Modulation occurs when a piece of rmusic changes key. A cam) might include ‘modulation to create m tis might consist of a simple shift of k higher than the previous chorus. In la toany key, although in pra most ke ‘crest such as the dominant ( he original key), ar mino .2y ~ for example, modulating fiom C maj to Aminor or vi Phrasing Just as varying numb varying numbers of notes are com make uld have na shape or st of notes. Often itis left up to the to decide wh pece of music and to interpret nclude phrase marks above the notation so as to Tea intended, The phrase marks wil help you decide ng and how to shape the music. Although phrases within a piece of music will often be of the same length Ornamentation Omaments are a method of embdlishing a melody by adding notes to it ‘omaments are normally indicated by the use of special symbols. The most common of these are explained below. rill When the letters ‘tr followed by a wavy litte appear above a note this indicates. that a tril shoutd betw played. a trill normally consists of fast slurred alternation sen the written note and the note above it in the key. How many. alternations you use depends upon the tempo and style of the music, Grace Note also known as an acciaccetwra) is written as a small-sized n Aarace not with a line across its stem (see right). Although its interpretation can var according to period and style, generally a grace note should be played very shed in before the beat of the following normal nete. quickly — aArpeggiation ‘An arpeggiation sign is nlaced befor red to be played with the notes slightly separated, rather than simultaneous, Sometimes an arrowhead is used to indicate the strum direction (see right). MAJOR SCALE Intervals An interval is the distance between tivo notes. Therefore, all melodic phrases are made up of tervals of one kind or another, As many tunes are constructed: from the major scale, good grounding in the intervals of the major seale wil 1 trying to work out the notes of a melody. The core intervals of the mal for example, are as perfect fifth CtoD major second major sixth CtoE major third major seventh CtoF perfect fourth octave The unique seund of each of these intervals can be learnt by either singing through the seale step by step, or by relating each interval to the st known dy For example 1 Christmas carol ‘Away In A Manger starts with he interval of perfect fourth Tone A tone (ot whole tone) is an interval equivalent te two semitones. Two notes ona guitar string separated by two frets are a tone apart. The whole-tone bend (a bend such that a note is made to sound like the note two frets up onthe san string! Is probably the most common bend used by rock lead iarists. in the whol «, ome scale, each of the notes is a tone away from the next (CD, Cin the key of C). Most western music is created ut of scales with semitone, tone and tone-and-a-half (a tone plus a semitone) intervals Semitone ‘The smallest interval between two notes on a fretted guitar i called Notes on either side of a fret are separated by a semitone, An interval of semitones is called a tone, Playing Intervals Being able t lay and recognise on the fingerboard provides a solid foundation far improvising over extended or altered chords. am on the left shows als of the one vill prove useful The diagram on the right shaws. the diatonic intervals of the one some intervals occur that are not tak: directly from the Here are some of the useful of these, shown with a keynote of € Im country and sou) sie it is common to play fixed in (Often, notes from the m tog or sixth apart, are played as double stops, creating a very sweet melodic sound. Cadences Cadences are musical ‘punctuation marks’ created by using a combination of chords that img be used in a resting place. A minimum of two chords needs order to create the resolution, Cadences nearly always appear at the end of songs, h ever they also oceur in other places during the course of a song, such a at the end of a phrase er verse. Recognising the sound of cadences will reatly help you recognise the movement of chards within a progression. A knowledge of cadences is also a great aid to writing effective chord progressions. The most vomnmonly used cadences are described below, Pertect Cadence The perfect cadence is formed by movement from the dominant chad (the W chord of the key) to the tone chord (the | chord of the key). For example, in the wey of C majar the pertect cadence would be fram G (or G7) ta. The perfect cadence creates a strong and complete ending to a phrase G ic Porfect Cadence Plagal Cadence rhe plagal cai chord of the key) 1. nce is formed by movement from the subdaminant éhord (the IV the tonic chord, For example, in the key of C ma the plagal adence would be from F to C. The plagal cadence is also often used toenda ‘musical phrase, although its effect is subtler than the perfect cadence. Fo| Cc Plagal Cadence Imperfect Cadence posite ic chord to the der Interrupted Cadence This isa cadence formed when the dominant (V} chord is followed by a chord othe 1eof the scale than the tonic chord, usually the minor chord built aiinor Key Cadences keys. As well as V: ch as bVi-Land pV are used freq Repeats id then the symbot on the left can be us Ifone bar of music Is to be repea if the phrase to be repeated Is longer than one bara similar symbol fs used but with two sla! ng lines crossing the same number of bars as in the phrase, 2 h the number of bars written abowe it, For example: “Repeat marks’ are used to indicate that a section of musie should be repeated: A double bar-tine lawed by two dats on either side of the le tine of the staff indicates the start of the section, and two dets on either side of th line of the staff, followed by a double bar-line, indicates the end of the section to be repeated, if there are no dots at the start of the section, then repeat from the ‘veginning of the piece.) Repeat marks can aiso be used In chord charts. if the section is to be repeated more than once, the murn r of times it is to be played is written ab the last repeat dots, (4) C |Am|Dm| G |: Am | C ‘Ctwo sections of musie an for the last bax o: bars, repeat marks are used in conjunction with first-time and secona-time directions, | Dm | Em | 10.5. a1cada means repeat fom the sign $4 and then pay the coda, YeCote @ DS, 21 Cada % | C [Am| F |G |Em/Am{ G [Cc || cw] Dm|G7| C [ C |i Accent sign nphasise the note. Harmonics Coda The term Coda literally means the" I" and is the end section of a pie ‘music, The coda is not part of the standard structure of the song, but is an extra \dd-on’ thal fin shes the song off. will normally’ variation on a previous sectian of the music, In popular music it i often referred to as the ‘outro’, In some styles of pop music quite often the coda is repeated several times until sang fades out In music notation, w start of the coda is in ted by the symbol on the left, Cadenza A cadenza is an extended and sometimes improvised section of a concerto th designed to allow the guitarist tiveness, anti e opportunity to display in and nical prowess.it is normally unaccompanied and so enables the voice of the guitar to be heard clearly without the orchestra. although originally intend tobe on the-spot extemporisations invented by the performer, based an the theme of the movement, many cadenzas are either notated by the composer or thoroughly prepared by the performer in advance. The best-known example of a cadenza in a guitar concerto features in Rodrigo's Concerto Aranjuez Tenuto sign Fermata a ° Hold the note for «Pause sothatthe Play the notes short, its fll value note is held fe and detached from than usual other Cl jor 8 ‘ACI (or BIN) He 8 Pullotf tom Cto8, Full barre acros al barre at 6 Nat tet the 2nd fet Musical Terms Here isa glossary of some of the musical terms that commonly appear in, classical guitar music. Accelerando (accel): gradually play fa: Allargando: getting slower and move to a fuller tone. A tempo: revert to normal tempo after a deviation Dolce. play with a sweet tone hy picking the strings Expressivo: play with expression Grazioso play gracefully legato: play smoothly Leggiero play lightly ‘Meno moss: less movement, reduce tempo stralght away Morendo, allow the volume tod Pesante: heavy and ponderous, pima picking hand fingers (p = thumb, j= indox finger, m = middle finger, a = third ingen, Pru altegr: quicker Phu lento: slower. Piu mosso: with more movement Poco a poco imake the change} little by litle. Ponticetlo (pont) play by the bridge. zallentando (ral!) gradually play slower Ritenuto rit): hold becic Ritmico raythrnically Rubato vary the length of notes for musical effect Sime (sim) continue in the same manne Sonore 2 full sonorous tone. Sotto voce nan undertone, very qui Spiritoso: spirited Staccato (stacc} play the notes short and detached Tacet silent, stop playing Tempo ghusto: Play in strict time, Tenuto (ten) held vib. play with vibrato Using It Transposing Chords fo transpose a chord progression means to rewrite it changing its original key The quality of the chords (major, minor, dominant) stays the same, as does their tionship to each other and to the key centre ~ only the pitch ch isa useful skill to have because it means that you can cha Transposi the key of a song to make it easier to play or to suit your voice if you intend to sing along There are two difterent methods Liat you can Use to hanspose cho! progressions; both methods will give exactly the same result Identify the key of the original chord progression and work out the chord numbers within the key for ‘each of the chords, then use the chord numbe: work out the chords in the mew key. For example, Dm is the second chord the key of € major therefore when transposed to the key of D major it will become Em, because Em is the second chord in the key of D major, + Another way te tran herd progressions is to change the root fe of each chord by the interval of the key change. Fer example, if you transpose om € major te D major this is an inte whole tone, 3o you the! jove up all the ether chords ir the progression by the same interval. For example, Om would move up a whole tone to becom Melodies 1 way to transpose a notated melody is to change each nate by the al. You work this out, by first id original key of the Reproducing Phrases The abi'ity to pick up melodies, licks and riffs Ly ear is an essential skill for guitarists, whether you play electric or acoustic guitar. Traditionally. most electric snd acoustic guitar players have learnt largely by this method of istening to recordings and then working out phrases and solos by ear.with the widespread availability in recent years of transcriptions for al styles of music ttve emphasis on this approach has changed somewhat, but nevertheless the ability to hear a pinvase and then reproduce it on the guitar remains a crucial cone. A good ‘evel of aural awareness in this area wall make learning riffs or songs much easier and quicker than relying upon working things out solely from TAB, Ability ir this area will also help with creating solos as it willenable a direct link between inventing phrases in your mind and being able toexecute ‘hese ideas on the guitar. Finally, attention should be paid not Just to the melodic aspect of aural recognition, but also to hearing rhythms: itis the thythmic shape of a phrase that gives it its structure Recognising Chords ‘earring to recognise the sound of different types of chords isa very useful Skill Being able to distingulsh by ear between major, miner, dominant and diminished chords is helpful not only for working out songs trom recordings, but also as an aid to composing your own songs and chord progressions. As a 4uide, major chords sound bright, minor chords sound matiow, daminant chords have a stightly aggressive bluesy edge, whilst diminished enords sound rather dissonant. Riff jort musical phr: many times throughout a song Riffs are or four bars in length, typically Examples of well-known riffs can be heard in’Saticfaction’ by the Rolling Stones, va ‘ean Genie’ and Bow ‘Smoke On The Water’ by Ceep Purple. Lic Allick isa small musical motif such as a ph se oF riff that can be incorporated into a lead guitar solo, All good solo players have a vocabulary of licks which they use in their lead lines. Improvising Guitar improvisation is often thought of as ‘making up a lead 1 freely on the ‘spot’ In some senses this is true, but for improvisation to take place there nee to be some structure and foundation behind it. To solo aver any ch a scale is required, a is 1S what defines the choke of notes that will fit the backing chords. However, not ail the notes of t le need to be played, nov in any particular order {and certainly not in the set ordet), Once the scale nas been learned, the aint is to use it in a melodically inventive and creative way, which ensures that the resulting playing does not sound too scale-like. Short phrases should be used, vather than a continuous flury of notes and it does not. matter if th ‘¢ are gaps. All the ne F the correct scale will fit over all oft bbacking chords, although some will sound better than others. However, playing the wrong scale over a chord sequence will sound pretty dire: the song's key should be identified b 1 any improvisation begins. since neatly all songs becin with the tonic (ie. home key} chord, the easiest method is to check the first chord of the song, For example, ifthe first chord is A minor, itis pretty certain that the song is in the key of A minor. || C77 F7/ | C7 |As7/G77 |C77 F7 G7|| Phrasing And Rhythe The rhythmic as of improvisation should be given as much thought as the melodic content: than playing the scale in straight time, a far more musical and inventive sound can b hiieved by playing some notes quickly whilst al g others to ring on. Originality Is not the main alm of improvisations itis more often an amalgam of things that have been played before, good way to start improvisi to use a well-known melody as a template for rhythm and phrasing. The notes of the melody don't need tobe played instead some of its rhythmicaspeets can be borrawed to give the inp) sation structure and direction, By ‘epeating certain series of notes. well.de ied phrases will begin to be establised, which will give the improvisatian structure, Once an acceptable phrase has been identified it can be varied slightly when iti played again ~ that way it will sound fresh whilst stil giving the listener something recagnizable to latch on to.Leaving some gaps between phrases is a good idea as it gives the musie space to breathe Is not enough te make a good solo, Scales Simply playing scales up and dow only set the range of notes that will be in tune in any key. It up to the player to create melodically and thythmically interesting phrases from the scale 4 Cm | Fm |A57B7| Cm | Style The improvisation shoutd fit with the style of the backing: the accompanitsent and the vocal line should be listened to to ensure that the improvisation sounds right in the context ofthe song, Improvisation can be practised with othe: ‘musicians, or over backing tracks or records, all of which help listening and playing skill, skills which are key to good improvisation. Lengthy periods of improvisation practice without any harmonic backing should be avoided, as it is very difficult to develop a gaod senza of phrazing and style this way, and laying can often be become fover-busy as it shard to leave gaps when there Is ne accompaniment, ttis important to listen not only to ather guitar players but also to the improvisations of other instrumentalists. Their and approaches to phrasing can be adopted, and sariations of their musteat ideas can be incorporated nto Future improvisations. Learn Guitar Fast peales Modes Modes are scale rmed by playing the notes of an existin arting from a note other than the original keynote. The m es played on the ‘guitar are those of the major scale. || Cm7| F7 |Cm7| F7 |B. 7Dm~7 | Gm|| | cm | D | Cm | | Bm |Fm7D 7] Cm | Cm the starting from its thid degree + The Dorian mode contains rotes of the majo starting from its +The Phrygian mode f the maj || Cmajz | Bm7 | Cmaj7 | D Serre fourth degree | Cmaj7| Bm? |Am77Bm77| C_ || | C7 [Dm77 Bo 7] BR + remioiaian mode 19 from |Gn 7 B 4| I its fi + The Aeolian mode contains the notes of the m F scale starting from its sixth degree + TheLoctian mode contains the notes of ‘major scale starting fram its seventh degree. he same notes, because Even though the major scaie and its modal scales us! they have differe tes they do not have the same tonality. For example, tte interval from the third note while the major scale has a maj and a major seventh interval from the root to the seventh note, in contrast, the rd interval from the root ta the thitd note Dorfan modal scale has a flattene andat making it stened seventh interval from the root to the seventh note. type of ‘minor’ scale Using iiodes Modal srales can be used for improvising and for composing melodies. There are two different approaches that can be taken; + Advanced players sametimes use modal scales ay chord scafes (using a different mode ver each chard). Far example, the Dorian modal scale fits over the minor chord built on the second degree af the major scale ( Dim in the key of € rnajor Modes « Isa be ir own right, ie. with a tated as key centres in t ‘group’ of chords to accompany each modal scale. For example, D Dorian dal could be used over a P Dorian minor key centre contain any of the fallewing chords: Dm Erm FG Am. Box Shape Me t guitarists normally learn 5 Jes as box shapes, which chow the finger positions for notes na particular region of the fingerboard. The pentatonic n be playe scale, for exam ing five box shapes that cover the whole neck, as can the major scale and the natural minor scale. Box shapes are often ed, with the first finger position starting on the tonic note (first and last s Sulos can the scale. Box-shape soloing 1s 2 cific box shape of a number of box sh cular scale using a sp pes for a part soe aos) LIQUNOD +) apwor vos) POTAATY santg. aoINosey eT BOS sas) OF FEMOTUO osttected« ids pensaqus ay. sployp yquanas queuiWUop 1240 Burswouduss way sn[o9 pu worsuay Po wo|sny puL Z7e/ UI posn A ‘ue o59u$9]295 pays\UIWUIp souNN/ se poguasop 19s © GIA yeu saje>s paystuw gle asbeerr Lob Se te E50 Suyjods yen.ayuy out all gi sq reses Buy rds jeassqur ous SBuyyods qearoyuy ou. 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[a pasn Aopyan aso 2s bus ae aueds yemaquy 24. aiBap 1 au} Jo sa,0u sho uu 10) uetbéaus st a-ajoukay auses ayy yan a se wns) sp soiou paiaye ueutwop 12A0 Buistaosduit 104 pasn apeui‘a[eos a30u-any e 5 apE>s (ot etm TOUR oTWO4B4uOg jan yeu few auoyeyuad ayy a fedusoaa spioy> Buy an Barysep sajou ou jo Au eu ‘21825 2}OU-2nY vs a[e98 sof 1 21U0}e) Tepom xofen wetafayg xofem otuoqequag Index Aeolian mode 39 accidental 4.5 altered scale go. are: ation 23, backing chords 36 bag arline 9 rhythm in 8 scale 40. 44 lime signature in ¢ boo» shape 14,19 26-27 see also individual cadence entries cadena 30 def s bass § reblos chord chart 2, 28,36 chord progression 32,38 hord symbols 12-13 hvamatic seale 40.4 coda 30 country rhythm ing 40.4 time signaturein 9 crotchet (quarter note rest 4,10 diatonte tat wal 35 ditninished seale 40, 42 dominant 22 Dorian mode 38 ale 40,42 ted mote 4.0.17 ble bar 4, double stop 25 aynarnies 21 gmatie seale 42 fifth position 1g fingerboard positions 4 see also Individual position entr aat i funk rhythm in 19 note (acciactatura) 23 rmoni¢ minor scale 40,43 patient lonian modal scale erfect caden improvising 5, 36-37.39 rupted cadence 27 intervals 24-25, 33933 jae time signature im 9 Inzzmelodic minor scale 40 43 key signature 4.6-7 major 6 miner 6 tocrian mode 39 scale 70.48 ytian mode 38 seale 40.44 major scale 24, 38, 40.45 \lodic minor scale go. 45 melody 21,34, 36.39 transposing 33 metronome 20 minim (half note) 4,8 rest minor key cadence 27 resto Mixolydian mode 38 scale 40. 45, modes 38-39 nodulation 22 musical terms 3 atu! 46 natural sign 5 I minor scale 254, Neapolitan minor scale 46 Neapolitan majar scale a6 note values 10 ninth position 95 open position 14 ‘ornamentation 23 pentatonic scale 3@ minor 40,47 major 40,47 perfect cadence 26 phrasing 22,36 Phrygian mode 38 major seal scale 40.47 pitch plagal cadence pop yythi in 38 tinwe signature in 9 (eighth note) 2.8 4.0 reggae rhythm ing) repeats 28-29 rests10-1,17 thm 9, 16-7, 36-37 iff 34-35 rhythm in 18 veal 5, 6.24, 25.27.36. 38-07 see also individual ecale entries semibreve (whole note) 4 est 4.10 4 sixteenth note) semitone 24 sharp sign s signt-reading 4.15 tablature (TAB) 4.12 tempo 20 tie 4.1.97 time signature 4, 8,77 timing 20 ‘transposing 32-33 trilla3 tone 24 voicing ys ole-tone

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