Beruflich Dokumente
Kultur Dokumente
Sean Ashcraft
Ex. 1.1 - The Octave Ex. 1.2 - The Chromatic Scale in Open Position
0 1 2 3 4 0 1 2 3 4 0 1 2 3 4 0 1 2 1 2 3 4
3 0
0
0
5 4 3
2 3 4
0 1
2 1 0 4 32 1 03 2 1 0 4 3
21 0 4 3 2 1 0 4 3 2 1 0
Ex. 1.3 - The Standard C Major Scale
10
1
3 0 2 3 0 2 0 0 2 0 3 2 0 3
Ex. 1.4 - The Extended C Major Scale
12
0 1 3 0 2 3 0 2 3 0 2 0 1 3 0 1 3 1 0 3 1 0 2 0 3 2 0 3 2 0 3 1
Ex. 1.5 - Etude no. 1
16
write in fingerings as needed
Ex. 1.6 - Etude no. 2
20 C G7 C F C G7 C G7 C Dm C G7 C
Ex. 1.7 - Etude no. 3
24 Cmaj7 Fmaj7 B7 Em7 Am7 Dm7 G7 C
these notes are relative -
Ex. 1.8 - Building Chords the root can change and
root of C picking random notes doesn't specific notes sound more still sound harmonic if relative
28
always sound harmonic harmonic than others intervals are the same
0 0
0 1 0
4 0 0
3 2 0
3 2 3 2
3
3
2
3
Root Major 3rd Minor 3rd Minor 3rd Root Major 3rd Minor 3rd Minor 3rd
0 0
1 3
1 4 0 0 0 1
0 2 0 2 0 0 3 4
2 0 3 3 0 0 2 2
3 2 1 2 0 1
0 2 3
43 C Am G G7 B Em Dm F
Ex. 1.11 - Rule 1: Follow Arrows (P -> D -> T) Ex. 1.12 - Rule 2: Jumps Stay "In Class" (P -> P, etc.)
F G C F Dm G
47
Ex. 1.13 - Rule 3: You Can Ex. 1.14 - Rule 4: You Can Start
Start Anywhere (D -> T) with T-Class/I Goes Anywhere (T -> "D" -> T -> P -> D -> T)
C G C C Em Am Dm
54
61
Ex. 1.17 - Deceptive Cadence Ex. 1.18 - Half Cadence Ex. 1.19 - Etude no. 4 - "Pop/Rock" Progression
G Am C G C Am F
67
74 G C F B Em Am Dm
3
81
C G7 F C
88
95 G7 C or G7 Am Cmaj7 F Fmaj7 B Dm7 G Am7 Dm Em7 Am
0 0 1 4 0
0 1 1 4
0 2 2 2 0
2 3 0 2 3
3 0 2
0
B7 C B7 Am C Am Dm7 G7
102
or
1
3
2
108 C Cmaj7 F Fmaj7 B B7 Em Em7 Am Am7 Dm Dm7 G G7 C
3
2
1
C F C Cmaj7 Fmaj7
116
C Em7 Am7 Dm7 G7 C Am7 Dm7 G7
122
128 Csus2 C Csus4 C Fsus2 F Gsus2 G Gsus4 G G7sus4 G7 Asus2 Am Asus4 Am
4 4
1 1
1 0 0
4 1 1 (3) 1 1 0 4
0 0 0 1 0 0 2 2
0 4 3 0 0 0 2 2
3 3 X X X 0 0
2 3 3
4
136 Dsus2 Dm Dsus4 Dm D7sus4 Dm7 Esus4 Em
4 4
0 3 3 1 0
4 2 2 0
2 4
0 0 3
0
2
0
140 C Fsus2 F F Gsus4 G Dm Asus4 Am Dm7 G7sus4 G7
"retardation"
4 3 1
0 0 0 0 1
1 3 4
4 0 1 1 0 0
0 2 1 4 3 2 0 2
3 0 2 (3)
2 2 2 0 0
3 X 0 (4) 3 2
2 4 3
0 1
3
5
7
8 10 12 12 10 8 7 5 3 1 0
10 12 12 10 8 7 5 3 2 0
0 2 3 5 7 8
I III V VIII X XII I III V VIII III V VII VIII X XII III V VII VIII
Ex. 1.29 - Power Chords in C Major G5 A5
153 E5 F5 G5 A5 C5 D5 E5 E5 F5 G5 A5 C5 D5 E5 A5 C5 D5 E5 F5 G5 A5 A5 C5 D5 E5 F5 X XII
X XII
3
4 2 2
3 3 3
2 2
0 0
1 1
0 0
Roman numerals are now refering to position (fret number for 1st finger)
Ex. 1.30 - Etude no. 10 - "Pop/Rock" w/ Power Chords Ex. 1.31 - Etude no. 11 - "Punk Rock"
161 C5 A5 F5 G5 C5 G5 A5 F5
C5 F5
169
175 C5 G5 F5 C5 A5 D5 G5
Ex. 1.33 - The 5 - 6 - 7 - 6 Shuffle
C5 C6 C5 C6 C5 C6 C7 C6 F5 F6 F5 F6 F5 F6 F7 F6
181
VIII VIII
4
3 4 3 4 3 4 4
3 4 3 4 3 4 4 4 1
1 1 1 1 1 1 1
1 1 1 1 1 1 1 1
stretch!
stretch!
X
C5 C6 C5 C6 G5 G6 G7 G6 C5 C6 C5 C6 C5 C6 C7 C6
185
VIII
VIII
3 4 4 4
3 4 3 4 1 1 1 3 4 3 4 3 4 4 4
1
1 1 1 1 1 1 1 1 1 1 1 1
stretch! stretch!
II I
Ex. 1.34 - Inverted Chords as Quasi-Power Chords these in context
C/E G/B G/B C/E C/E C5 G/B
A5 C5 G/B F5
189 an example of an
inverted chord VII VII VIII VII V III II
4
4 4 4 4 4
4 4
1 3 4
1 1 3 1 1 3
-1 -1
1
the most common in C 0
notice this slight 1
change in fingering
C5 G/B A5 C/E F5
194
Ex. 1.35 - Sus2 Power Chords Progression with Sus2 Chords
F2 G2 A2 C2 D2 A2 C2 D2 F2 G2 A2 C2
198
4
3 3
4
1
3 1
0
1
204 F2 C2 A2 F2