Fretboard Biology I: by Joe Elliott

!
!
!
!
!
!
!
!
Fretboard
Biology I
3rd Edition
!
!
!
!
!
by Joe Elliott
!
2
!
!
!
!
!
!
!
!
!
!
!
!
!
!
Joe Elliott!
Fretboard Biology I!
!
Graphics and Layout by Michael J.Krajewski!
!
© 2011, 2012 Joe Elliott!
Self publishing!
(Joe.Elliott@mcnallysmith.edu - www.fretboardbiology.com )!
!
ALL RIGHTS RESERVED. This book contains material protected under International
and Federal Copyright Laws and Treaties. Any unauthorized reprint or use of this
material is prohibited. No part of this book may be reproduced or transmitted in any form
or by any means, electronic or mechanical, including photocopying, recording, or by any
information storage and retrieval system without express written permission from the
author / publisher.!
!
!
3
Unit 1...........................................................page 5! Improvisation: Motifs in minor pentatonic pattern II!

Theory: The staff, the musical alphabet, clef signs, half Professional Application: Listen to a well constructed
and whole steps!
Scales: Octave shape organization system!
Arpeggios: Octave shape organization system!
!
solo using minor pentatonic!
Unit 6.........................................................page 32!

Chords: Octave shape organization system and basic Theory: Major Scale / Flat Key Signatures!
barre chords! Scales: Pattern III Major!
Other: Proper picking and fretting hand technique, Chords: Open A, C, D, E, F & G chord voicings!
alternate picking, metronome, notes on 6th, 1st and 5th Improvisation: Motifs in major scale pattern I
strings! pentatonic!
Improvisation: Key center & Solo Shaping! Professional Application: Listen to a well constructed
Professional Application: Learn to listen for
characteristics of parts! !
solo using the major scale!
!
Sound: Introduction!
Unit 2.........................................................page 15!

Unit 7.........................................................page 36!
Theory: Intervals!
Scales: Pattern IV Natural Minor!
Theory: Interval formulas for the Major and Major Chords: Reading progressions using open chords!
Pentatonic Scale! Improvisation: 16-bar minor key center!
Scales: Learn Pattern III Major Pentatonic! Professional Application: Listen to minor key center
Chords: Learn/review Pattern IV Major and Pattern II
Minor barre chords and their chord!
tones!
!
solo!
Unit 8.........................................................page 39!

Other: Notes on 4th, 3rd & 2nd strings! Theory: Intervals!
Improvisation: Solo Shaping within the key center Scales: Pattern IV Natural Minor!
approach! Chords: Reading progressions using open chords!
Professional Application: Listen to a well constructed Improvisation: 16-bar minor key center! 38!
solo! Professional Application: Listen to minor key center
!
Sound: Tone controls/gain stage!
Unit 3........................................................page 21!

solo!
Theory: Intervals!
Scales: Pattern I Major!
Theory: Natural Minor and Minor Pentatonic Scale Chords: Open Ami, Dmi, Emi!
Formulas! Other: Intervals - 2nds and 3rds on the same string - all
Scales: Pattern IV Minor Pentatonic! strings!
Chords: Pattern II Major & Minor barre chord-tones! Improvisation: 16-bar minor key center!
Other: 4-note sequences, hammer-ons, pull-offs! Professional Application: Listen to minor key center
Improvisation: Use Motifs and solo shaping in Pattern
IV Minor Pentatonic!
Professional Application: Listen to a well constructed
!
solo!
Unit 9.........................................................page 46!

solo in Minor Pentatonic! Theory: Intervals!
Sound: Continue working with tone, gain and volume Scales: Pattern II Natural Minor!
!
controls!
Unit 4.......................................................page 25!

Chords: Chord progressions using open chords!
Other: Intervals - adjacent string 2nds, 3rds bottom 4
strings!
Theory: Major Scale / Sharp Key Signatures! Improvisation: 16-bar major key center!
Scales: Pattern I Major Pentatonic! Professional Application: Listen to major key center
Chords: Reading barre chord progressions!
Other: Introduce hammer-on, pull-off, slide, vibrato and
bend exercises!
!
solo!
Unit 10.....................................................page 50!

Improvisation: Motifs in major pentatonic pattern III! Theory: Intervals and Blues scale!
Professional Application: Listen to a well constructed Scales: Pattern IV & II Blues!
!
solo using major pentatonic!
Unit 5........................................................page 30!

Chords: Open Asus, Dsus, Esus, Asus 2, Dsus2!
Other: Intervals - adjacent strings 4ths, 5ths bottom 4
strings!
Theory: Major Scale / Sharp Key Signatures! Improvisation: 16-bar major key center!
Scales: Pattern II minor pentatonic! Professional Application: Listen to major key center
Other: Introduce hammer-on, pull-off, slide, vibrato and
bend exercises!
!
solo!
4
Unit 11.....................................................page 54! Unit 18.......................................................page 88!

Theory: Triad and suspended chord formulas! Theory: Rhythm Notation!
Arpeggios: Patterns I & III Major! Scales: Pattern V Major Pentatonic!!
Chords: Progressions using open and barre chords! Arpeggios: Pattern V Major!
!
Other: Intervals - 6ths on adjacent bottom 4 strings! Chords: Chord progressions using movable 7th chords!
Other: Standard Interval Shape Ideas (money makers)!
Improvisation: Chord tones in Blues!
Unit 12....................................................page 59!
Theory: Triads!
Scales: Pattern II Major Pentatonic!
!
Unit 19.......................................................page 93!
Arpeggios: Patterns II & IV Minor! Theory: Rhythm Notation!
Chords: Patterns IV & II moveable major 7! Scales: Pattern I Minor Pentatonic!
Other: Intervals - 2 strings away 6ths, 7ths and Arpeggios: Pattern III Minor!
Octaves - bottom 4 strings! Chords: Chord progressions using movable dominant
!
Improvisation: 16-bar minor with chord tones!
Unit 13....................................................page 63!

7th chords!
Theory: Parallel and relative keys!

Scales: Pattern III Minor Pentatonic!
!
Improvisation: Chord tones in minor blues!
Unit 20.......................................................page 99!

Chords: Patterns IV & II barre Dominant 7! Theory: Rhythm Notation!
Other: Intervals - adjacent strings - 2nds, 3rds - top 3 Arpeggios: Pattern I Minor!
strings! Chords: Chord progressions using movable 7th chords!
Improvisation: 8-bar minor progression with chord Other: Standard interval shape ideas (money makers)!
!
tones!
Unit 14...................................................page 68!

!
Unit 21.....................................................page 103!
Theory: Natural Minor Scale Sharp Key Signatures! Theory: Rhythm Notation!
Chords: Patterns IV & II Barre Minor 7th! Arpeggios: Pattern V Minor!
Other: Intervals - 4ths and 5ths on adjacent strings - Chords: Moveable 7th chord progressions!
top 3 strings! Other: Standard interval shape ideas (money makers)!
Improvisation: 4-bar major chord progression using
!
chord tones!
!
Improvisation: Money makers in blues!
Unit 22.....................................................page 108!

Unit 15..................................................page 74! Theory: Rhythm Notation!
Theory: Natural Minor Scale Flat Key Signatures! Chords: Moveable 7th chord progressions!
Scales: Pattern IV Major Pentatonic!
Chords: 12-bar Blues!
Other: Intervals - 6ths on adjacent strings - top 3
!
Scales......................................................page 111!
strings!
Improvisation: 8-bar major chord progression with !
Arpeggios.................................................page 112!
!
chord tones!
!
Chords - Open Position............................page113!
Unit 16..................................................page 78!
Theory: Rhythm Notation! !
Chords - Moveable..................................page 114!
Scales: Pattern V Minor Pentatonic!
Arpeggios: Pattern II Major!
Chords: 12-bar Minor Blues!
!
Intervals...................................................page 115 
Other: Intervals - 6ths, 7ths and Octaves on non
adjacent strings - top 4 strings!
!
Improvisation: 12-bar Blues!
Unit 17..................................................page 82!

Theory: Rhythm Notation!
Arpeggios: Pattern IV Major!
Chords: Reading moveable 7th chord progressions!
Improvisation: Chord tones in blues!
!
5
!
Unit 1
!
Unit 1 Objectives!
!
Theory: The staff, the musical alphabet, clef signs, half and whole steps !
!
Scales: Octave shape organization system!
!
Arpeggios: Octave shape organization system!
!
Chords: Octave shape organization system and basic barre chords!
!
Other: Proper picking and fretting hand technique, alternate picking, metronome, notes
on 6th, 1st and 5th strings!
!
Improvisation: Key center & Solo Shaping!
!
Professional Application: Learn to listen for characteristics of parts!
!
Sound: Introduction!
!
_______________________________________________________________!
!
!
!
!
Theory: !
Music is notated on a 5-line grid called a staff. Pitches (or notes) are named using a
seven letter musical alphabet (A, B, C, D, E, F and G). Pitches are assigned to the lines
and spaces on the staff. Clef signs determine which lines and spaces correlate with
which letter for a pitch. Guitar players normally read in the “Treble” (𝄞 ) or “G” clef. Bass
players normally read in the “Bass” (𝄢) or “F” clef. Ledger lines extend the upward and
downward range of any staff.!
!
!
!
!
!
!
!
!
6
!
The word “interval” refers to the distance between two pitches. In Western music, the
smallest interval normally notated with lines and spaces on the staff is called a “half-
step”. A half-step can be visualized on the guitar as the distance of one fret. The next
largest interval is called a “whole-step”. A whole-step can be visualized on the guitar as
the distance of two frets.!
!
!
!
!
!
Half Step = One Fret Whole Step = Two Frets

7
The Musical Alphabet (natural notes): A B C D E F G!

!
The Staff:!
!
!
!
! Treble or “G” Clef Time Signature Barline
!
!
!
!
---------------------------Measure ----------------------------------
The Lines: E G B D F 
F D
B D
E G B
E
C E
A C
F
A
F
8
!
Scales:!
“Octave Shapes” are physical and visual patterns or shapes on the neck. There are five
and they are numbered I - V using Roman numerals. We will refer to them as
“patterns” as well. All scale, arpeggio and chord types can be constructed within each
octave shape. The octave shape (or pattern) system is the cornerstone of how will be
organizing the neck. !
!
!
!
!
!
! I
!
!
!
!
!
!
!
! II
!
!
!
!
!
!
! III
!
!
!
!
!
!
! IV
!
!
!
!
!
! V
!
9
!
Arpeggios:!
All arpeggio types can be found within the octave shape system. !
!
!
!
Chords:!
All chord types can be found within the octave shape system.!
!
!
Other:!
Proper picking and fretting hand technique - see instructor for demonstration.!
!
“Alternate Picking” is a picking-hand technique. Generally, each down stroke should be
followed by an up stroke and visa versa. In other words, with pure alternate picking, a
consistent up - down motion with the pick is the rule. !
!
!
! ! = Down! ! ! = Up!
!
!
!
!
!
• With a quarter note groove, ALL notes will be played with a downstroke.!
!
!
!
!
!
• With an 8th note groove, ALL notes on down beats will be played with a downstroke
and all notes on the “and” will be played with an upstroke.!
!
!
!
!
!
! 1 &2& 3& 4&
!
• With syncopation: !
!
! ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
!
10
!
• With a16th note groove, ALL notes on down beats and “ands” (up beats) will be played
with a downstroke and all notes on the “e’s” (the 2nd and 4th 16th notes) will be
played with an upstroke.!
!
!
!
!
1 e & ah 2 e & ah 3 e & ah 4 e & ah !
!
!
!
!
• With syncopation:!
!
!
! ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
!
!
!
• With a groove with 8th note triplets as the smallest subdivision, down beats on beat
one will be played with a downstroke. Notes on the second 8th note of the triplet will
be played with an upstroke and so on with a consistent alternating motion!
!
!
!
!
!
!
!
!
!
!
!
!
• There is an alternative option where each 8th note triplet group always starts with a !
downstroke.!
!
!
!
!
!
!
!
!
!
11
!
!
• With a groove with 16th note triplets as the smallest subdivision, down beats on beat
one will be played with a downstroke. Notes on the second 16th of the triplet will be
played with an upstroke and so on with a consistent alternating motion. !
!
!
!
!
!
!
!
!
!
• There is an alternative option where each 16th note triplet group always starts with a
downstroke.!
!
!
!
!
!
!
!
!
!
!
The rules of pick direction should be followed whenever possible but there are
exceptions. A good rule is to be as true to the rules stated above when practicing and try
not to think about it at all when performing.!
!
!
!
Metronome - Using a metronome is essential to developing and maintaing a great
sense of time. Nearly all of your practice routine should be done with a metronome.!
A free metronome can be found at www.metronomeonline.com.!
!
There are several ways you can relate the click of the metronome to the meter of the
music you are practicing. The most common way is to set the metronome so it clicks on
beats one, two, three and four of of a 4/4 measure. Your instructor will demonstrate
other techniques.!
!
!
12
Notes on the Fretboard!

All notes of the guitar should be memorized. At first, this task seems daunting. However,
the notes on 6th and 1st strings have the same names. Memorize these first. Next
memorize the notes on the 5th string. In the next unit, an easy way to memorize the
notes of the 4th and 3rd strings will be introduced. Last, the notes of the 2nd string will
be introduced.!
!
! E A E
!
! F F
! B
!
! G C G
!
!
! A D A
!
!
!
! B E B
! C F C
!
!
!
! D G D
!
!
! E A E
!
!
!
!
!
Fretting Hand Fingers - Your fretting-hand fingers are numbered as follows:!
• Index finger - 1st finger!
• Middle finger - 2nd finger!
• Ring finger - 3rd finger!
• Little finger or “Pinky” - 4th finger.!
• If you have an extra finger, good luck. !
!
13
!
Position - Position is a term only used to describe the specific region of the neck where
your fretting hand is. Position is determined by the location of your 1st (or index) finger.
Open position includes the open strings and generally the first three frets and
sometimes the 4th fret.!
!
!
!
!
!
!
!
!
!
! 5th Position !
! Indicated by the roman numeral V.
!
!
!
!
!
!
!
!
!
!
!
!
Improvisation:!
Key Center Approach to Improvised Soloing: An improvised solo requires the
spontaneous creation of melodic ideas during a “feature” section of a song. The most
common and basic method for improvising a guitar solo is the “key center” approach.
The source of notes in a key center solo is the scale of the key during the solo section.
However, there are drawbacks to this method which will be discussed in a later unit.!
!
Solo Shaping & Story Telling: Solos (improvised or pre-constructed) should use the
same compositional elements as a song, movie, book or speech. In other words, a solo
should tell a story. There should be a firm introduction, ascent to a peak and finally, a
finite conclusion. There should be the development of a theme or themes. The climb
from start to peak to finish may be accomplished by exploiting contrast.!
!
!
!
!
!
!
14
Start! >! >! >! >! >! Peak!

!
Low Register!! >! >! >! High Register!
Play Slow! >! >! >! >! Play Fast!
Simple Ideas!>! >! >! >! More Complex Ideas!
Sparse! >! >! >! >! Dense!
Soft! >! >! >! >! >! Loud!
!
!
!
!
!
!
Professional Application: Pay attention to guitar parts when listening to and learning
tunes. But also listen to the parts other instruments play as well. You are expected to
have an awareness of the ensemble as a whole and how its parts fit together ---and
especially how your part fits. When listening to a recording or live performance of a
band with a full rhythm section, listen for the bass drum and bass guitar patterns and
how they line up and/or interact. Next, listen for the other parts layered above that and
how they each contribute to the overall sound. !
!
Finally, listen for the guitar part or parts and listen for detail. Here are some questions to
ask:!
• Is the part busy or sparse?!
• Does the part double another part in the band?!
• In what register is the part?!
• What is the tone? Clean? Crunch? Distortion?!
• What kind of effects are on the guitar? Chorus, Wah? Reverb? Delay? Flange?
Phase?!
• If the guitar was not there, how would the overall sound of the band be affected?!
!
!
Sound: Good guitar tone is critical. Your guitar sound is essential to the fabric of the
arrangement. Often, a specific tone can inspire a part or even the initial composition of a
song. Settling for bad, inappropriate or even mediocre sound is unacceptable. You want
the gig? Get your sound together. !
!
When playing electric guitar, your instrument is more than your guitar. Your instrument is
made up of all parts between your fingers and the speaker. That includes your pick,
strings, pick-ups, internal wiring, cable, pre-amp, effects, power amp and speakers.
Different components in this signal chain affect your “touch”. Accept the fact that
assembling the components to get a good tone is a high priority. This course will
gradually introduce the skills needed to get a good guitar tone.!
!
!
!
15
Unit 2
!
Unit 2 Objectives:!
!
Theory: Interval formulas for the Major and Major Pentatonic Scales!
!
Scales: Learn Pattern III Major Pentatonic!
!
Chords: Learn/review Pattern IV Major and Pattern II Minor barre chords and their
chord tones!
!
Other: Notes on 4th, 3rd & 2nd strings!
!
Improvisation: Solo Shaping within the key center approach!
!
Professional Application: Listen to a well constructed solo!
!
Sound: Tone controls/gain stage!
____________________!
!
Theory:!
The white keys on the piano are called “natural notes”. They are: A, B, C, D, E , F and
G. The interval between all of the natural notes is a whole-step except for half-steps
between B and C and E and F. These are called the “naturally occurring half-steps”. It is
always important to be aware of these when building scales and chords. Memorize the
following table which indicates the intervals between all the natural notes:!
• A and B Whole Step!
• B and C Half Step!
• C and D Whole Step!
• D and E Whole Step!
• E and F Half Step!
• F and G Whole Step!
• G and A Whole Step!
!
A natural note can be raised a half-step by applying a sharp. Place a sharp sign (#)
before the note head on the same line or space.!
!
A natural note can be raised two half-steps by applying a double sharp. Place a double
sharp sign (X) before the note head on the same line or space. 
16
A natural note can be lowered a half-step by applying a flat. Place a flat sign (b) before
the note head on the same line or space.!
!
A natural note can be lowered two half-steps by apply two flats. Place two flat signs (bb)
before the note head on the same line or space.!
!
A single note can have two names. For example: F# and Gb. Notes that “sound“ the
same but have different names are called enharmonic “equivalents” or just
“enharmonics”.!
Learn the following table of enharmonics:!
• A# and Bb!
• C# and Db!
• D# and Eb!
• F# and Gb !
• G# and Ab!
!
But also understand these:!
• B and Cb!
• B# and C!
• E and Fb!
• E# and F!
!
A tonic is the fundamental tone of a key. Scales are groups of notes assembled in step-
wise fashion above and/or below a tonic. Scales generally use the letter name of the
tonic as the first part of their name. For purpose of introduction, scales are built
ascending from the tonic to its octave. Each note of a scale is called a step or scale
degree and assigned a number corresponding to its intervalic relationship to the tonic.
“Step” and “scale degree” are synonymous.!
!
While there are many scales that use all seven letters of the musical alphabet, there are
some that have fewer and some that have more than seven notes. The major scale is
often used as a reference to which all other scales are compared. For that reason, we’ll
learn how to construct a major scale first and then build all the other scales. The major
scale has seven notes plus the octave the tonic. !
!
The major scale formula is as follows:!
W = whole step!
H = half step!
!
!
!
!
! 1! 2! 3! 4! 5! 6! 7! 8 (octave)!
! !
! ! W W H W W W H!
!
17
The major pentatonic scale has five notes plus the octave. It is most easily understood
by taking the major scale and removing two scale degrees, the 4th and 7th. The
remaining notes and their identifying numbers remain the same as numbers refer to the
intervalic relationship to the tonic, not the numerical order of the note.!
!
The major pentatonic scale formula is as follows:!
!
!
1! 2! 3! 5! 6! ! 8 (octave)!
!
!
!
Scales:!
We’ll begin learning dozens of scales by referencing the “octave shape” concept
introduced in Unit One. We’ll begin by learning the major pentatonic scale built with the
Pattern III octave shape. This is the scale pattern where numerous classic guitar riffs
are played.!
!
!
!
! 6 2 5 1 3 6
!
!
! 3 6 2
!
! 1 5 1
!
!
! ! Octave Shape III! ! Major Pentatonic!
!
!
Important Note: The major and minor pentatonic scales will serve as “shells”
within which most of the dozens of scales will be built. The five Pentatonic scale
patterns, having just five tones, can be easily expanded to create five patterns
each of Major, Natural Minor, Blues, Dorian, Phrygian, Lydian, Mixolydian,
Locrian, Harmonic Minor and Melodic Minor scales as well as other derivatives.
Dedicate yourself to the process of learning them and understanding how they
can be expanded into their derivatives.!
!
!
!
18
!
Chords:!
A “Root” is the fundamental note of a chord. Scales and keys have tonics; chords and
arpeggios have roots. The Pattern IV major and minor barre chord shapes are the most
commonly used and usually the first moveable chords learned on the guitar. They a built
within the Pattern IV octave shape with the root on the 6th string. All six strings are
played. For now, memorize the chord tone numbers of each component of these two
barre chords. Chord construction, including triads, will be explained in a later unit.!
!
Pattern IV Major and Minor barre chords:!
!
!
! 1 5 1 1 b3 5 1
! 3
!
! 5 1 5 1
!
!
!
Octave Shape IV Major Minor!
!
!
!
Other:!
We learned the notes of the 6th, 1st and 5th strings n Unit I. There is an easy “trick” for
learning the notes of the 4th and 3rd strings. Place your 1st finger on the 6th string on
the 1st fret (F). Place your 3rd finger on the 4th string two frets above (3rd fret). The
interval between your 1st finger on the 6th string and your 3rd finger on the 4th string is
an octave. This relationship holds true all along the 6th string. Repeat this “trick” using
this same shape along the 5th and 3rd strings. !
!
!
!
!
! F Bb
!
!
! F Bb
!
!
!
19
!
You now understand how to find all the notes of the guitar (excluding the 2nd string) by
just learning the notes of the 6th and 5th strings.!
! B
The 2nd (B) string needs to be memorized alone.!
! C
!
!
! D
!
!
! E
!
! F
!
!
! G
!
!
!
! A
!
!
! B
! E A D G B E
!
! F C F
!
! B E A
! G C F D G
!
! B
!
! A D G C E A
! F
!
! ! B E! A ! D ! B Here are all the “natural” notes on the fretboard.!
!
! C F G C
! B E
!
! D G C F A D
!
!
! E A D G B E
!
20
Improvisation:!
In the following four-bar progression, all of the chords belong to C major. Using the Key
Center approach to improvising discussed in the last unit, and keeping the story-telling
idea and techniques in mind, play a solo with a finite length using the Pattern III C major
pentatonic scale. Make the length symmetrical (meaning play either four or eight times
through the progression).!
!
!
!
!
!
!
Professional Application:!
Listening Example: Major Pentatonic Solo!
!
Sound:!
Most combo amps have pre-amp and power amp components. Both components will
have a dramatic affect on your sound. The simplest amp design will have a one-stage
pre-amp with one volume control. An example of this would be the old tweed Fender
Champ.!
!
Generally speaking, tone controls (bass, mid-range, treble) are “subtracters.” If you
adjust them to “10”, you will get the full amount of level from that part of the frequency
spectrum. As you turn the knob to a lower number, you subtract the amount of level in
that frequency range. Note that the specific range of each bass, mid-range and
treble controls will vary from amp to amp. Many guitarists start with all tone controls
on “10” and then adjust according to what is appropriate for their desired sound. !
!
Some amps are built with a “gain” control. The guitar signal will pass through the “gain”
stage first and by turning up the gain knob, you’ll hear more distortion. In this type of
amp, the overall volume of your sound is controlled by the “volume” (sometimes labeled
“master volume”). !
!
Other amps provide a switch (foot pedal and/or toggle on amp face) to turn on or off or
simply bypass the gain stage. These amps often have another volume control which is
dedicated to the “gain” stage.!
!
The challenge with an amp with a gain stage is finding the appropriate balance between
gain and volume and setting the tone controls so that both the clean and distorted
sounds are clear.!
!
Learning to control your sound with just the tone, gain and volume controls is essential
before you add other devices. Never assume that what you hear when you are alone in
a room playing through an amp is what it will sound like with an entire band. Many
frequencies are occupied by other instruments’ sound and it will affect how you sound to
the audience. 
21
!
Unit 3
!
Unit 3 Objectives:!
!
Theory: Natural Minor and Minor Pentatonic Scale Formulas!
!
Scales: Pattern IV Minor Pentatonic!
!
Chords: Pattern II Major & Minor barre chord-tones !
!
Other: 4-note sequences, hammer-ons, pull-offs!
!
Improvisation: Use Motifs and solo shaping in Pattern IV Minor Pentatonic!
!
Professional Application: Listen to a well constructed solo in Minor Pentatonic!
!
Sound: Continue working with tone, gain and volume controls!
____________________!
!
Theory:!
The natural minor scale uses all seven letters of the musical alphabet. It is often
compared to, and created by, altering notes of the major scale. We’ll learn how to
construct a natural minor scale with its own interval formula and label the scale degrees
as they relate to the major scale. Because the third, sixth and seventh scale degrees
are lowered one half-step relative to the major scale, we refer to them as b3, b6 and b7. !
!
The natural minor scale formula is as follows:!
!
!
!
! 1! 2! b3! 4! 5! b6! b7! 8 (octave)!
!
! W H W W H W W!
!
The minor pentatonic scale has five notes plus the octave. It is most easily understood
by taking the natural minor scale and removing two scale degrees, the 2nd and b6th.
The remaining notes and their identifying numbers remain the same because numbers
refer to the intervalic relationship to the tonic, not the numerical order of the note.!
!
!
!
!
!
!
22
The minor pentatonic scale formula is as follows:!

!
!
!
1! b3 4 ! 5! b7! 8 (octave) !
!
!
Scales:!
We’ll begin learning the multitude of minor scales by referencing the “octave shape”
concept introduced in Unit One. We’ll begin by learning the minor pentatonic scale built
with the Pattern IV octave shape. This is the minor pentatonic scale pattern where
numerous classic guitar riffs are played.!
!
!
! 1 4 b7 b3 5 1
!
!
! 5 1 4
!
! b3 b7 b3
!
!
! Octave Shape IV Minor Pentatonic!
!
!
!
!
!
Important Note: The minor pentatonic scales will serve as “shells” within which
most of the numerous minor scales will be built. The five minor pentatonic scale
patterns, having just five tones, can be easily expanded to create five patterns
each of Natural Minor, Blues, Dorian, Phrygian, Harmonic Minor and Melodic
Minor scales as well as other derivatives. Dedicate yourself to the process of
learning them and understanding how they can be expanded into their
derivatives.!
!
!
!
!
!
!
!
!
!
!
!
23
Chords:!
!
The Pattern II major and minor barre chord shapes are also used frequently and are
among the first moveable chords learned on the guitar. They are built within the Pattern
II octave shape with the root on the 5th string. Normally, the 6th string, low E, is muted.
For now, memorize the chord tone numbers of each component of these two barre
chords.!
!
! 1 5 1 5
! b3
! 5 1 3 5 1
!
!
Octave Shape II Major Minor!
!
!
Other:!
The term articulation is used to describe the way a string is made to ring. Having control
of the various articulation techniques allows a guitarist to take full advantage of the
expressive qualities of the instrument. Mastering these techniques will enable you to
“sing” with your guitar.!
!
Picking while fretting a note in the center of the fret is the fundamental articulation
technique on the guitar. Other techniques include the hammer-on, pull-off, bend, release
bend, slide, vibrato, mute, tap and harmonic. Your instructor will demonstrate these
techniques.!
!
There are other techniques that do not use a pick. Using only your fingers in your
picking hand, you can have extreme dynamic and expressive control ranging from the
most delicate brushing of the strings to violent popping.!
!
A sequence is a repetitive melodic pattern that can be played through a scale or
arpeggio in an ascending or descending direction. Here is the most basic sequence. It
can be played through any scale. Using these numbers to indicate the scale degrees (of
any scale), try this ascending: 1, 2, 3, 4 ... 2, 3, 4, 5, ... 3, 4, 5, 6 ... until you reach the
highest point you want to play. Then try this descending: 8(1), 7, 6, 5 ... 7, 6, 5, 4 ... !
6, 5, 4, 3 ... until you reach the lowest point you want to play. !
!
There are an infinite number of options. !
Try 1, 2, 3 ... 2, 3, 4 ... 3, 4, 5 etc. ! !
! ! ~ or ~ !! !
1, 3, 2, 1 ... 2, 4, 3, 2 ... 3, 5, 4, 3 etc.!
!
!
!
!
24
Improvisation:!
In the following four-bar progression, all of the chords belong to A minor. Using the Key
Center approach to improvising discussed in the first unit, and keeping the story-telling
idea and techniques in mind, play a solo with a finite length using the Pattern IV A minor
pentatonic scale. Concentrate on playing a clear and simple motif as your opening
statement. Make your second statement a replica of the first and develop the motif in
your subsequent phrases. Make the length symmetrical (meaning play either four or
eight times through the progression).!
!
!
!
!
!
!
!
Listening Example: Minor Pentatonic Solo!
!
Sound:!
Continue working with tone, gain and volume controls!
!
!
25
Unit 4
!
!
Unit 4 Objectives:!
!
Theory: Major Scale / Sharp Key Signatures!
!
Scales: Pattern I Major Pentatonic!
!
!
Other: Introduce hammer-on, pull-off, slide, vibrato and bend exercises!
!
Improvisation: Motifs in major pentatonic pattern III!
!
Professional Application: Listen to a well constructed solo using major pentatonic!
!
____________________!
!
!
26
Theory:!
To build a major scale, follow the following steps:!
!
1. Write the desired tonic on the staff!
2. Write in all the notes by step on the staff above the tonic with no sharps or flats (and
include the octave)!
3. Number the scale degrees including 8!
4. Write the interval formula between the numbers !
5. Adjust pitches where necessary to fit the interval formula using sharps or flats where
necessary. Always remember the naturally occurring half-steps between B and C and
E and F.!
!
!
! Step One: Write the desired tonic on the staff
!
!
!
!
!
! Step Two: Write in all the notes by step on the staff above the tonic with no sharps or flats
! (and include the octave)
!
!
!
! Step Three: Number the scale degrees including 8
!
!
!
!
! 1 2 3 4 5 6 7 8
!
! Step Four: Write the interval formula between the numbers
!
!
!
! 1 2 3 4 5 6 7 8
!
! W W 1/2 W W W 1/2
! Step Five: Adjust pitches where necessary to fit the interval formula using sharps or flats
! where necessary. Always remember the naturally occurring half-steps between
! B and C and E and F.
!
!
!
!
!
27
!
For this unit, build these scales: C, G, D, A, B F# and C#!
As you build the scales, notice the pattern that develops:!
!
Key Sharps needed for key
G F#
D F# C#
A F# C# G#
E F# C# G# D#
B F# C# G# D# A#
F# F# C# G# D# A# E#
C# F# C# G# D# A# E# B#
!
Memorize the order of sharps: FCGDAEB!
!
Notice that when writing out these scales, the staff gets cluttered with all of the sharps
especially in keys E, B, F# and C#. The solution is to collect the sharps together
immediately after the clef sign into a “key signature”. With a key signature, the sharps
necessary for the key don’t need to be written in front of the notes throughout the piece.!
!
!
Know how to answer two questions related to all key signatures:!
1. Given a key signature, what key does it represent?!
2. Given the key, what key signature will represent it?!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
28
!
Scales: Our next pentatonic shell is Pattern I Major Pentatonic. This shell, like pattern
III, can be played within a four-fret span.!
!
!
! 3 6 2 5 3
!
! 1
! 3 6
!
! 5 1 2 5
!
! ! Octave Shape I! ! ! ! Major Pentatonic!
!
!
!
!
Chords:!
Practice playing the following progressions using barre chords only. Strive for efficiency
in movement by using both pattern IV and II barre chords.!
!
Example One!
!
!
!
!
!
!
!
!
!
!
!
Example Two!
!
!
!
!
!
!
!
!
!
!
!
!
29
Other:!
Articulation techniques were introduced in Unit 3. Using the pattern IV minor pentatonic
scale, play the scale ascending using hammer-ons and descending playing pull-offs.!
!
Using the pattern IV minor pentatonic scale, play the scale ascending and descending
sliding into each note from a half-step below. !
!
Using the pattern IV minor pentatonic scale, play the scale ascending and descending
sliding into each note from a half-step above.!
!
!
Improvisation:!
In the following four-bar progression, all of the chords belong to C major. Using the Key
Center approach to improvising discussed in the first unit, and keeping the story-telling
idea and techniques in mind, play a solo with a finite length using the Pattern III C major
pentatonic scale. Concentrate on playing a clear and simple motif as your opening
statement. Make your second statement a replica of the first and develop the motif in
your subsequent phrases. Make the length symmetrical (meaning play either four or
eight times through the progression).!
!
!
!
!
!
!
!
!
Listening Example: Major Pentatonic Solo!
!
!
!
!
30
!
Unit 5
!
!
Unit 5 Objectives:!
!
Theory: Major Scale / Sharp Key Signatures!
!
Scales: Pattern II minor pentatonic!
!
!
Other: Introduce hammer-on, pull-off, slide, vibrato and bend exercises!
!
Improvisation: Motifs in minor pentatonic pattern II!
!
Professional Application: Listen to a well constructed solo using minor pentatonic!
!
!
____________________!
!
Theory:!
We learned to build major keys using sharps in Unit 4. Continue drilling so that you
know how to answer two questions related to all key signatures:!
2. Given the key, what key signature will represent it?!
!
!
Scales: Our next pentatonic shell is Pattern II Minor Pentatonic. This shell, like pattern
IV minor, can be played within a four-fret span.!
!
!
!
! 5 1 4 b7 5
! b3
!
! 5 1
! 4 b7
! b7 b3
!
! ! ! !
! ! Octave Shape II! ! Minor Pentatonic!
!
!
!
31
Chords:!
Practice playing the following progressions using barre chords only. Strive for efficiency
in movement by using both pattern IV and II barre chords.!
!
!
Example One!
!
!
!
!
!
!
!
!
!
!
Example Two!
!
!
!
!
!
!
!
!
!
!
!
Other:!
Continue working out in the articulation exercises introduced in Unit 4. Expand your
routine to incorporate patterns I & III major pentatonic and II minor pentatonic.!
!
Improvisation:!
In the following four-bar progression, all of the chords belong to D minor. Use the solo
techniques discussed thus far starting with minor pentatonic pattern II. To build your
solo, move to a higher register by shifting to pattern IV minor pentatonic in the second
half. Remember to make the length symmetrical and keep track of where you are.!
!
Listening Example: Minor Pentatonic Solo 
32
!
Unit 6
!
Unit 6 Objectives:!
!
Theory: Major Scale / Flat Key Signatures!
!
Scales: Pattern III Major!
!
Chords: Open A, C, D, E, F & G chord voicings!
!
Improvisation: Motifs in major scale pattern I pentatonic!
!
Professional Application: Listen to a well constructed solo using the major scale!
!
!
____________________!
!
Theory:!
We learned to build major scales with sharps in three previous units. We’ll learn to build
major scales with flats in this unit.!
!
Follow the “five steps” again to build the following scales: F, Bb, Eb, Ab, Db, Gb, Cb. !
!
4. Write the interval formula between the numbers !
E and F.!
!
!
!
!
!
33
As you build the scales, notice the pattern that develops:!

!
Key Flats needed for key
F Bb
Bb Bb Eb
Eb Bb Eb Ab
Ab Bb Eb Ab Db
Db Bb Eb Ab Db Gb
Gb Bb Eb Ab Db Gb Cb
Cb Bb Eb Ab Db Gb Cb Fb
!
Memorize the order of Flats: BEADGCF!
!
As with the sharp keys, notice that when writing out these scales, the staff gets cluttered
with all of the flats, especially in keys Ab, Db, Gb and Cb. The solution is to collect the
flats together immediately after the clef sign into a “key signature”. With a key signature,
the flats don’t need to be written in front of the notes throughout the piece.!
!
Know how to answer two questions related to all key signature:!
2. Given the key, what is the key signature?!
!
!
Scales: !
We’ve been referring to the major and minor pentatonic scales as “shells”. The concept
is based on the idea that all of the five-note pentatonic scale patterns can be expanded
by adding one or more notes to create other scales.!
!
This unit introduces the first “expansion” of the pentatonic scale. We studied major scale
construction as a theoretical concept and then learned that the major pentatonic scale
can be created by removing the 4th and 7th scale degrees. We’ll reverse that process in
this unit and insert the 4th and 7th scale degrees back inside the pattern III major
pentatonic shell to create the pattern III major scale pattern.!
!
!
!
!
!
!
34
! 7
!
! 6 2 5 1 3 6 6 2 5 1 3 6
!
! 4
! 3 6 2 7 3 6 2 7
!
! 1 5 1 1 4 5 1
!
! Octave Shape III ! Major Pentatonic Major Scale!
!
!
!
Chords: !
“Open Chords” or “Open String Voicings” are played in the open position and normally
include at least one open (un-fretted) string. They are an essential part of a complete
chord vocabulary. Memorize these voicings. As we build our open chord vocabulary,
we’ll practice switching between them.!
!
!
! X 5 3 X 1 5 5 1 3
!
! 1
! 3 5 1 3 3
!
! 1 1 1
!
!
! C! A G
!
! 1 XX XX
! 5 1 1
!
! 3 5 1
! 5 1 5 3 3
! 1
! 1
!
!
!
! E D F
!
!
!
!
!
35
Improvisation: !
In the following four-bar progression, all of the chords belong to C major. Improvise a
solo using the solo techniques discussed thus far. Start in pattern III major pentatonic
and then moving to pattern I major pentatonic half-way through. Make the length
symmetrical (meaning play either four or eight times through the progression).!
!
!
!
!
!
!
!
!
!
Professional Application: Listen to a well constructed solo using the major scale!
!
!
!
36
!
Unit 7
!
Unit 7 Objectives:!
!
Theory: Continue learning key signatures!
!
Scales: Pattern IV Natural Minor !
!
Chords: Reading progressions using open chords!
!
Improvisation: 16-bar minor key center!
!
Professional Application: Listen to minor key center solo!
____________________!
!
Theory:!
We learned to build major keys using flats in Unit 6. Continue drilling so that you know
how to answer two questions related to all key signatures:!
!
2. Given the key, what is the key signature?!
Scales: !
We’ve been referring to the major and minor pentatonic scales as “shells”. The concept
is based on the idea that all of the five-note pentatonic scale patterns can be expanded
by adding one or more notes to create other scales.!
!
This unit introduces the first “expansion” of the minor pentatonic scale. We studied
minor scale construction as a theoretical concept and then learned that the minor
pentatonic scale can be created by removing the 2nd and b6th scale degrees. We’ll
reverse that process in this unit and insert the 2nd and b6th scale degrees back inside
the pattern IV minor pentatonic shell to create the pattern IV natural minor scale pattern.!
Pattern IV natural minor !
!
! 2
! 1 4 b7 b3 5 1 1 4 b7 b3 5 1
!
! b6
! 5 1 4
! 2 5 1 4 2
! b3 b7 b3 b3 b6 b7 b3
!
! Octave Shape IV! ! Minor Pentatonic Natural Minor!
37
Chords: Reading progressions using open chords!

!
Example One!
!
!
!
!
!
!
!
!
!
!
!
Example Two!
!
!
!
!
!
!
!
!
!
!
Improvisation:!
The chords in this 16-bar progression belong to the key of G minor. Using the Key
Center approach to improvising and keeping the story-telling idea and techniques in
mind, play a solo with the given finite length using the Pattern IV G natural minor scale. !
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
38
What new challenges do you encounter when using the seven-note natural minor scale
instead of the five-note minor pentatonic scale?!
!
!
Professional Application: Listen to Minor Key Center Solo!
!
!
!
!
!
39
Unit 8
!
Unit 8 Objectives:!
!
Theory: Intervals!
!
Scales: Pattern I Major !
!
Chords: Open Ami, Dmi, Emi!
!
Other: Intervals - 2nds and 3rds on the same string - all strings!
!
Improvisation: 16-bar minor key center!
!
!
____________________!
!
!
Theory:!
The term “interval” was introduced in Unit 1. “Interval” refers to the distance between
two pitches. Using half-steps and whole-steps as the only measurement is
cumbersome, inefficient and impractical when measuring greater distances like “three
and one-half steps”. !
!
! Definitions:!
• Melodic Interval - two pitches played one after another (ascending or
descending)!
• Harmonic Interval - two pitches played at the same time!
• Simple Interval - interval smaller than an octave.!
• Compound Interval - interval larger than an octave.!
!
Quantity --- A more practical system uses numbers 2 through 13 (or greater) to
describe the distance between two pitches. “Quantity” is a term used to describe the
general distance between two pitches. For example, the distance from C to the D above
it is labeled as a “second”. “Second” is used because there are two letter names
involved when measuring the distance. C to the E above C would be labeled a “third”
because there are three letter names involved, C, D and E. Examine the quantities of
the following intervals.!
!
! !
! !
! Perfect 5th Major 3rd Major 6th Perfect 5th
!
40
! Note: The quantity of the interval between C and Db is a second. The !

quantity of the interval between C and D is also a second. In other words, ! the
“general” distances (quantity) are the same. The “exact” distances are !
obviously different. We use the term “quality” to describe the detail of the !
measurement.!
!
“Quality indicates the exact measurement of an interval. Terms like major, minor,
perfect, diminished and augmented refer to the quality of an interval. !
!
Study the table below. The right column shows that exact interval measurements are
expressed by combining quantity with quality. This table is for demonstration purposes
only. !
!
Number of half Number of Quantity Quantity plus
steps! whole steps Quality!
(or frets on one (the real interval
string) name)
C to Db 1 0.5 2nd Minor 2nd
C to D 2 1 2nd Major 2nd
C to Eb 3 1.5 3rd Minor 3rd
C to E 4 2 3rd Major 3rd
C to F 5 2.5 4th Perfect 4th
C to F# 6 3 4th Augmented 4th
C to Gb 6 3 5th Diminished 5th
C to G 7 3.5 5th Perfect 5th
C to Ab 8 4 6th Minor 6th
C to A 9 4.5 6th Major 6th
C to Bb 10 5 7th Minor 7th
C to B 11 5.5 7th Major 7th
C to C 12 6 8th Perfect 8th!

(octave)
!
!
!
41
The major scale serves as an effective tool for measuring intervals. Because the
distances from the tonic to the other scale degrees is always the same regardless of the
key, the major scale can be used to measure intervals much like a ruler is used to
measure physical distances.!
!
Examine and memorize the distances from the tonic to each of the scale degrees of the
C major below. It is the same in every major scale. !
!
!
!
!
!
!
! Major 2nd Major 3rd Perfect 4th
!
!
!
!
!
!
! Perfect 5th Major 6th Major 7th Perfect Octave
!
!
Note that these measurements are the same in all major scales:!
• Tonic to 2nd scale degree is always a major second!
• Tonic to 3rd scale degree is always a major third!
• Tonic to 4th scale degree is always a perfect fourth!
• Tonic to 5th scale degree is always a perfect fifth!
• Tonic to 6th scale degree is always a major sixth!
• Tonic to 7th scale degree is always a major seventh!
• Tonic to 8th scale degree is always a perfect eight or octave!
!
!
C to B = Maj7
C to G = P5
C to E = Maj 3
C to D = Maj 2
C to F = P4
C to A = Maj 6
C to C = P8
!
!
42
!
!
!
How to measure an existing “simple” interval:!
!
1. Identify the lower note of the interval you wish to measure and its key signature.!
2. Figure out the “quantity” --- Determine the letter name of the higher note of the
interval. What scale degree of the lower note major scale is it? The answer = the
quantity of the interval.!
3. Compare the upper note to that of the major scale. Is it exactly the same (#, b or
natural) of the corresponding note of the major scale? !
4. If it is then its quality will be major if it is a second, third, sixth or seventh or perfect if it
is a fourth, fifth or octave. !
5. Is it a half-step lower? If it is, then it’s a minor second, third, sixth or seventh or
diminished fourth, fifth or octave.!
6. Is it a half-step higher? If it is, then it’s an augmented second, third, fourth, fifth, sixth
or seventh.!
!
How to build any “simple” interval:!
!
1. Identify the lower note of the interval you wish to build and its key signature.!
2. If the desired interval is a major second, third, sixth or seventh, find the corresponding
scale degree of the major scale. !
3. If the desired interval is a perfect fourth, fifth or octave, find the corresponding scale
degree of the major scale. !
4. If the desired interval is a minor second, third, sixth or seventh, find the corresponding
scale degree of the major scale and lower it one half-step with appropriate accidental. !
5. If the desired interval is a diminished fourth, fifth or octave, find the corresponding
scale degree of the major scale and lower it one half-step with appropriate accidental. !
6. If the desired interval is an augmented fourth, fifth or octave, find the corresponding
scale degree of the major scale and raise it one half-step with appropriate accidental. !
!
Note: Diminished seconds, thirds, sixths and sevenths are one half-step !
smaller than minor seconds, thirds, sixths and sevenths. !
! !
Augmented !seconds, thirds, sixths and sevenths are one half-step greater !
than major seconds, thirds, sixths and sevenths.!
!
!
43
!
!
!
!
Scales: !
Let’s continue with the concept of expanding the pentatonic shells. By adding the 4th
and 7th scale degrees, the pattern I major pentatonic scale becomes the pattern I major
scale.!
!
3 6 2 5 3 3 6 2 5 7 3
1 4 1 4
3 6 7 3 6
5 1 2 5 5 1 4 2 5
Octave Shape I Major Pentatonic Major Scale

!
!
!
!
!
!
!
Chords: Open Ami, Dmi, Emi!
In Unit 6 we learned several major triad open chord voicings. Memorize these three
minor triad voicings. As we build or open chord vocabulary, we’ll practice switching
between them.!
!
1 b3 5 1 X 1 5 XX 1
b3 b3
5 1 5 1 5
1
Emi Ami Dmi
!
!
!
44
!
Other: !
Guitarists benefit from the visual aspect of learning where notes are through the use of
string diagrams. All of the intervals introduced above have corresponding visual
“shapes” on the neck. We’ll learn them gradually and systematically. In his unit, we
introduce shapes for minor and major 2nds and 3rds on any one string.!
!
!
2nds along one string!
!
Minor 2nds:!
!
!
!
!
!
!
Major 2nds:!
!
!
!
!
!
!
!
3rds along one string!
!
!
Minor 3rds:!
!
!
!
!
!
!
!
Major 3rds:!
!
!
45
!
Improvisation:!
All of the chords in this 16-bar progression belong to the key of C minor. Using the Key
mind, play a solo with the given finite length using the Pattern IV C natural minor scale.!
!
!
!
!
!
!
46
Unit 9
!
Unit 9 Objectives!
!
Theory: Intervals!
!
Scales: Pattern II Natural Minor !
!
Chords: Chord progressions using open chords!
!
Other: Intervals - adjacent string 2nds, 3rds bottom 4 strings!
!
Improvisation: 16-bar major key center!
!
Professional Application: Listen to major key center solo!
!
!
!
____________________!
!
Theory: !
With your new understanding of intervals, work to quickly be able to answer interval
questions seen in the following scenarios:!
!
!
!
1. There are two pitches on the staff. Name both the quantity and quality of the interval. !
!
!
!
!
! ____________! ! ____________! ! ____________!
!
2. Begin with a given pitch. Be able to find any interval above it.!
!
!
!
!
!
3. Begin with a given pitch. Be able to find any interval below it.!
!
!
!
!
!
47
Scales: !
Let’s continue with the concept of expanding the minor pentatonic shells. By adding the
2nd and b6th scale degrees, the pattern II minor pentatonic scale becomes the pattern
II natural minor scale.!
!
!
! 5 5
! 1 5 1 4 b7 5 1 4 b7 2
! b3 b6 b3 b6
! 1 5 1 2 5 1
!
! b7 b3 4 b7 b7 b3 b6 4 b7
! ! !
! Octave Shape II! ! Minor Pentatonic! ! Minor Scale!
!
!
Chords: !
Practice playing the following progressions using open chords only.!
!
Example One!
!
!
!
!
!
!
!
!
!
!
!
!
!
Example Two!
!
!
!
!
!
!
!
!
!
!
!
!
48
Other:!
We continue to build our vocabulary of interval shapes!
In his unit, we introduce shapes for major and minor 2nds and 3rds on adjacent strings
in the bottom-four string region of the neck.!
!
Minor 2nds (two adjacent strings-bottom four strings)!
!
!
! b2 b2 b2
!
!
!
! 1 1 1
!
Major 2nds (two adjacent strings-bottom four strings)!
!
!
!
!
!
!
!
!
!
!
Minor 3rds (two adjacent strings-bottom four strings)!
!
!
!
!
!
!
!
!
!
Major 3rds (two adjacent strings-bottom four strings)!
!
!
!
! 3 3 3
! 1 1 1
!
!
!
!
!
49
Improvisation:!
!
All of the chords in this 16-bar progression belong to the key of C major. Using the Key
mind, play a solo with the given finite length starting with the Pattern III C major scale
and then mid-way, switch to pattern I major scale.!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
50
Unit 10
!
Unit 10 Objectives:!
!
Theory: Intervals and Blues scale!
!
Scales: Pattern IV & II Blues!
!
Chords: Open Asus, Dsus, Esus, Asus 2, Dsus2!
!
Other: Intervals - adjacent strings 4ths, 5ths bottom 4 strings!
!
Improvisation: 16-bar major key center!
!
____________________!
!
Theory: !
Continue to work on building and the quick recognition of intervals.!
!
The Blues scale is one source of notes for improvising in the Blues style. A more
detailed explanation of “Blues harmony” will be presented in a later unit. For now,
understand that the blues scale can be constructed by adding one note to the minor
pentatonic scale.!
!
Compare the scale formulas for minor pentatonic and blues scales.!
!
Minor Pentatonic: 1! ! b3! ! 4! ! 5! ! b7!
!
Blues:!! 1! b3! ! 4! b5! 5! ! b7!
! A minor pentatonic
!
!
!
!
! 1
! b3 4 5 b7 8
! A blues
!
!
!
! 1
! b3 4 b5 5 b7 8
!
!
51
Scales:!
Let’s continue with the concept of expanding the minor pentatonic shells. We can create
a blues scale by adding the a b5 to the minor pentatonic scale. Learn the patterns IV &
II blues scales.!
!
! Octave Shape II Minor Pentatonic Blues Scale
! 5 5 5 5
! 1 1 4 b7 1 4 b7
! b3 b5 b3
! 1 5 1 5 1
!
! b7 b3 4 b7 b7 b3 4 b7
! b5
!
!
! Octave Shape IV Minor Pentatonic Blues Scale
!
! 1 1 1 4 b7 b3 5 1 1 4 b7 b3 5 1
!
! b5
! 1 5 1 4 5 1 4
! b3 b7 b3 b3 b5 b7 b3
!
!
!
Chords: Asus, Dsus, Esus, Asus2, Dsus2!
In Units 6 and 8 we learned several major and minor triad open chord voicings. The
next voicings are also part of the common open chord vocabulary. Memorize the
following five “suspended” chord voicings. The “suspended chord theory” will be
explained in a future unit. As we build our open chord vocabulary, we’ll practice
switching between them.!
! X XX
! 1 5 1 1 5 1
!
! 5 5
! 5 1 4 1
! 4 1 4
!
!
! Esus Asus Dsus
! X 1 2 5 XX 1 2
!
!
! 5 1 5
! 1
!
Asus2 Dsus2
52
Other:!
We continue to build our vocabulary of interval shapes. In his unit, we introduce shapes
for perfect 4ths and 5ths, augmented 4ths and diminished 5ths on adjacent strings in
the bottom-four string region of the neck.!
!
!
Perfect 4th (two adjacent strings-bottom four strings)!
!
!
!
!
!
!
!
!
!
!
Augmented 4th (two adjacent strings-bottom four strings)!
!
! 1
!
!
!
!
!
!
!
Diminished 5th (two adjacent strings-bottom four strings)!
!
! 1
!
!
!
!
!
!
!
Perfect 5th (two adjacent strings-bottom four strings)!
!
!
!
!
!
!
!
!
53
Improvisation: !
All of the chords in this 16-bar progression are diatonic to the key of C major. Create a
solo for this progression using the following concepts:!
• Key Center approach !
• Story-telling techniques !
• Work within the given finite length !
• Start with Pattern III C major scale and then mid-way, switch to pattern I major scale.!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
54
Unit 11
!
Unit 11 Objectives!
!
Theory: Triad and suspended chord formulas !
!
Arpeggios: Patterns I & III Major !
!
Chords: Progressions using open and barre chords!
!
Other: Intervals - 6ths on adjacent bottom 4 strings !
!
____________________!
!
Theory: !
!
! Definitions:!
• Root - the fundamental note of a chord!
• Chord - Three or more tones played simultaneously!
• Arpeggio - the notes of a chord played one after another (not simultaneously) !
• Triad - A three-note chord arranged in thirds. Built from the root, a triad
contains notes a third and fifth above. !
• Suspended 4th chord - A three-note chord where a note a fourth above the
root replaces the third.!
• Root Position Chord - A chord voiced with the root as its lowest note!
• Inverted Chord - A chord voiced with a note other than the root as its lowest
note!
!
A tonic is the fundamental note of a scale. Keys and scales are named according to
their tonics. A root is the fundamental note of chord. Chords are named according to
their roots. !
!
We learned about key signatures and intervals in earlier units. In this unit we’ll begin our
theory study of chords. After learning about key signatures and intervals, much of theory
is learning formulas made up of combinations of intervals. All scales, chords and
arpeggios can be explained in terms of interval formulas. !
!
!
!
!
!
!
!
!
!
55
Triads!
A triad is a chord made up of three notes arranged in thirds above the root. All triads
contain a root, third and fifth. There are four triad types and a familiar term, “quality”, is
used to define types of triads. The four qualities are: Major, Minor, Augmented and
Diminished. !
! Understand that these four terms, while having meanings related to intervals, !
have different meanings when referring to triads.!
!
Here are the interval formulas for the four different triad types:!
• Major Triad: ! ! Root - Major 3rd - Perfect 5th!
• Minor Triad: ! ! Root - Minor 3rd - Perfect 5th!
• Augmented Triad: ! Root - Major 3rd - Augmented 5th!
• Diminished Triad: ! Root - Minor 3rd - Diminished 5th!
!
To build a triad, follow the interval formula for the desired triad quality and build the
appropriate 3rd and 5th intervals above the root.!
!
C Major Triad!
! Perfect 5th
!
!
!
!
!
!
! Maj 3rd Min 3rd
!
C Minor Triad!
!
Perfect 5th !
!
!
!
!
!
!
Min 3rd Maj 3rd !
!
C Augmented Triad!
!
! Augmented 5th
!
!
!
!
!
Maj 3rd Maj 3rd
56
C Diminished Triad!
! Diminished 5th
!
!
!
!
!
!
! Min 3rd Min 3rd
!
Suspended 4th Chords!
A note a perfect 4th above the root replaces the major or minor 3rd in Suspended 4th
chords.!
!
Here is the interval formulas for a suspended 4th chord:!
Root - Perfect 4th - Perfect 5th!
! Perfect 5th
!
!
!
!
!
!
! Perfect 4th Maj 2nd
!
Sometimes a suspended 4th chord is followed by a major or minor triad built from the
same root. !
! Dsus4 D
! XX XX 1
! 1
! 5 5 3
! 1 4 1
!
!
!
!
!
! Dsus4 Dmi
!
! XX 1 XX 1
! 5 5
b3
! 1 4 1
!
!
!
!
57
Analyze Triads!
It is also important to know how analyze and label existing triads. To analyze and label
an existing triad, determine the qualities of the 3rd and 5th. Compare the intervals with
the four quality formulas.!
!
Labeling Triads!
Major Triads - Major triads are best labeled with the letter name only as in “C”. Writing
“major” or “Maj” or “Ma” is redundant and clutters a chord chart. Use of an upper case
“M” or the triangle symbol is unclear and could confuse the reader as these symbols
have different meanings in different regions of the world.!
!
Minor Triads - Minor triads are best labeled with the letter name as in “C” plus “mi”.
Writing “minor” or “min” is redundant and clutters a chord chart. Use of an upper case
“M” or lower case “m” is unclear and could confuse the reader. Using a dash as in “ C-
”is also common and universally accepted as an efficient and clear way to write C minor.!
!
Augmented Triads - Augmented triads are best labeled with the letter name and “ + “
as in “C+”. Writing “augmented” or “aug” clutters a chord chart. Writing C(#5) is OK but
(#5) should be reserved for chords with 7ths.!
!
Diminished Triads - Diminished triads are best labeled with the letter name and “ ° “ as
in “C°”. Writing “diminished” or “dim” clutters a chord chart. !
!
Suspended 4th Chords - Suspended 4th chords are best labeled with the letter name
of the root and “sus” or “sus4”. Writing “suspended 4th” clutters a chord chart.!
!
Arpeggios: !
We understand how to build arpeggios from a theory standpoint. Using the familiar
patterns I & III octave shapes, memorize the major triad arpeggios built within them.
Note the similarities to the major pentatonic shells built within the same octave shapes.
As with major pentatonic scale “shells”, all of our major triad arpeggio shapes will serve
as shells for all other “major” arpeggios. Dedicate your self to the process of
understanding the components (root, 3rd, 5th) of each arpeggio.!
!
! Octave Shape Major Pentatonic Major Triad Arpeggio!
!
! 3 6 2 5 3 3 5 3
! 1 1 1
!
! 3 6 3
! 1 5 1 2 5 5 1 5
!
!
!
! 1 6 2 5 1 3 6 5 1 3
! 3 6 2 3
1 1 1 5 1 1 5 1
58
Chords: !
Open chord voicings are the appropriate choice in many situations. However, there are
times when open chord voicings are impractical or impossible for some chords in a
progression. Be prepared to combine open & barre chords. In the following
progressions, use open voicings where ever possible.!
!
! !
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
Other:!
for major and minor 6ths on adjacent strings in the bottom-four string region of the neck.!
!
Minor 6th (two adjacent strings-bottom four strings) !
!
! 1 1 1
!
!
!
! 1 1 1
!
!
Major 6th (two adjacent strings-bottom four strings) 
1 1 1
1 1 1
59
Unit 12
!
Unit 12 Objectives!
!
Theory: Triads!
!
Scales: Pattern II Major Pentatonic!
!
Arpeggios: Patterns II & IV Minor !
!
Chords: Patterns IV & II moveable major 7!
!
Other: Intervals - 2 strings away 6ths, 7ths and Octaves - bottom 4 strings!
!
Improvisation: 2-bar phrase in minor with chord tones!
!
____________________!
!
Theory: !
Continue to focus on triad recognition and building!
!
Scales: !
We have concentrated learning major scales and arpeggios in patterns I and III thus far.
Expand your knowledge of the neck by learning the pattern II major pentatonic scale.
This, too, will be used as a shell for other scales containing a major third.!
!
!
!
! Octave Shape II Major Pentatonic
!
! 3 6
! 1 5 1 2 5
!
! 1 6 2 5 1 3 6
!
!
!
!
!
!
!
!
!
!
!
60
Arpeggios: !
Using the familiar patterns II & IV octave shapes, memorize the minor triad arpeggios
built within them. Note the similarities to the minor pentatonic shells built within the
same octave shapes. As with minor pentatonic scale “shells”, all of our minor triad
arpeggio shapes will serve as shells for all other minor arpeggios. Dedicate yourself to
understanding the components (root, b3rd, 5th) of each arpeggio.!
!
!
! Octave Shape IV Minor Pentatonic Minor Triad Arpeggio
!
! 1 1 1 4 b7 b3 5 1 1 b3 5 1
!
! 1 5 1 4 5 1
!
! b3 b7 b3 b3 b3
!
! Octave Shape II Minor Pentatonic Minor Triad Arpeggio
!
! 1 5 1 4 b7 5 5 1 5
! b3 b3
! 5 5
! 1 1 1
! b7 b3 4 b7 b3
!
Chords:!
Just as the pentatonic scales serve as shells within which we can build all other scales,
our basic barre chords built in patterns IV and II serve as shell voicings for many other
chord types. In this unit, we’ll start the process of learning moveable 7th chords. The
theory explanation about how to construct 7th chords will come in a future unit. For now,
learn the fingerings and components of the following major 7th chords built from our
patterns IV and II major barre chords. Understand how they are derivatives of the basic
barre chord shapes we reviewed in Unit 1 and what the chord tones are.!
!
! Octave Shape II
X Major
X Major 7
!
! 1 1 5 1 5
! 7
!
! 1 5 1 3 5 3
Octave Shape IV Major Major 7 X Major 7 X

1 1 1 5 1 1 5 1 1 5
3 7 3 7 3
1 5 1 5
alternative fingering
61
!
Other:!
for major and minor 6ths and 7ths, two strings apart in the bottom-four string region of
the neck.!
!
Minor and Major 6th (two non-adjacent strings- bottom four strings)!
!
! Minor 6th Major 6th
!
! 1 1
!
! 1 1
!1 1 1 1
!
!
!
Minor and Major 7th (two non-adjacent strings- bottom four strings)!
!
!
!1 1 1 1 1 1
!
! 1 1
!
!
!
!
Improvisation: !
The “key center” approach to improvised soloing was introduced in Unit 1. In this
approach, the scale of the key is the source of melodic material. !
!
However, there are drawbacks to this method. Key center solos can sound vague and
meandering. A good way to demonstrate this is to record an improvised key center solo
over a backing track. Play it back with both the backing track and guitar solo audible. It
will probably sound OK. Next, play the track again with the backing track muted. Can
you hear the chords reflected in your solo lines? In most cases with inexperienced
improvisers, the answer will be no. !
!
The “chord tone” approach is where your lines incorporate the notes of the chords under
the solo. This is an incredibly simple concept and skill to understand intellectually but
quite challenging to master. !
!
!
!
62
The arpeggio is the musical device used to introduce chord tones into your solos.
Instead of using primarily scales as a source of notes, a significant use of arpeggios will
make a solo sound like it “fits”. At first it’s best to work this out with a simple two-chord
progression. In the following progression, both chords belong to the key of A minor. !
!
First improvise using the pattern IV A minor and/or A minor pentatonic scale. This is
acceptable but probably less than satisfying. !
!
Next, take the two arpeggios (patterns IV and II minor triads) presented in this unit and
focus on playing the pattern IV minor triad arpeggio over the Ami and the pattern II
minor triad arpeggio over the Dmi --- both in 5th position.!
!
! 2
! 1 4 b7 b3 5 1
! b6 A minor scale - Octave Shape IV
! 2 5 1 4 2
! b3 b6 b7 b3
!
!
!
!
!
! (Am triad arp) (Dm triad arp)
!
!
! 1 b3 5 1 5 1 5
! b3
! 5 1 5 1
! b3 b3 b3
!
Next try to blend chord tones and the key center approach with the intent to play a
chord tone at least on the first beat of a new chord.!
!
Note: Learning to use the chord tone approach in creating solos is an essential
step in becoming a successful improvisor. The concept is simple; the task is
challenging but worth the effort. Dedicate yourself to the task.!
!
63
Unit 13
!
Unit 13 Objectives!
!
Theory: Parallel and relative keys!
!
Scales: Pattern III Minor Pentatonic!
!
Chords: Patterns IV & II barre Dominant 7!
!
Other: Intervals - adjacent strings - 2nds, 3rds - top 3 strings!
!
Improvisation: 8-bar minor progression with chord tones!
!
____________________!
!
!
!
Theory: !
Parallel and Relative keys!
!
Definitions:!
• Parallel Keys - two keys that share the same tonic (i.e. C major and C minor)!
• Relative Keys - two keys that share the same key signature (i.e. C major and A
minor)!
• Modulation - changing from one key to another!
!
Parallel Keys!
It is common for a song’s mood to shift from happy to sad (or bluesy) or visa versa
without the tonic changing. This concept is called modal interchange and it will be
discussed in great detail in a later unit. The tonal center (tonic) remains the same; the
key shift is between “parallel keys”.!
!
!
! C major
!
!
!
! 1 2 3 4 5 6 7 8
!
! C minor
!
!
!
! 1 2 b3 4 5 b6 b7 8
64
Relative Keys!
In the beginning units we learned how to construct the major scale and their key
signatures. We also learned how to construct the natural minor scale. !
!
Study the significant observation below. The notes of the C major and A minor scales
are the same. We have not studied minor key signatures yet but it is clear that the key
signature for A minor would be “no sharps or flats” --- the same as C major. C major and
A minor are relative keys because they share the exact same notes.!
!
! C major
!
!
!
! 1 2 3 4 5 6 7 8
! A minor
!
!
! 1 2 b3 4 5 b6 b7 8
!
!
Now look at the D major and B minor scales. The notes are the same. The key
signature for both D major and B minor is two sharps (F# and C#). D major and B minor
are relative keys because they share the exact same notes.!
!
! D major
!
!
!
!
!
! B minor
!
!
!
!
Note that in both cases shown above, the “relative minor tonic” is the sixth scale
degree of its relative major. Also note that a minor key’s relative major is the b3rd
scale degree (A minor - C major, B minor - D major). This is consistent with all
relative minor keys. This provides a quick way to understand minor key
signatures. !
!
It is very common for songs to modulate (change key centers) from a major key
to its relative minor or visa versa. This transition is smooth and subtle.!
!
!
!
65
!
Scales: !
We have concentrated learning minor scales and arpeggios in patterns II and IV thus
far. Expand your knowledge of the neck by learning the pattern III minor pentatonic
scale. This, too, will be used as a shell for other scales containing a minor third.!
!
!
! Octave Shape III Minor Pentatonic
!
! 5
! 1 1
! b7 b3 4 b7
!
!
! 1 1 1 4 b7 b3 5 1
!
!
!
Chords: !
Patterns IV & II barre Dominant 7!
Patterns IV and II barre chords serve as shell voicings for many other chord types.
Continue the process of learning moveable 7th chords. Learn the fingerings and
components of the following dominant 7th chords built from our patterns IV and II major
barre chords. Understand how they are derivatives of the basic barre chord shapes we
reviewed in Unit 1 and what the chord tones are.!
!
! Octave Shape II Major Barre Dominant 7
! X X
!
! 1 1 5 1 b7 5
!
! 1
! 1 5 1 3 5 3
!
!
!
!
! Octave Shape IV Major Barre Dominant 7
!
! 1 1 1 5 1 1 b7 5 1
! 3 3
!
! 1 5 1 5
!
!
!
66
Other:!
for major and minor 2nds and 3rds, adjacent strings - top 3 strings region of the neck.!
!
Minor 2nds (Two adjacent strings-top three strings)!
!
!
! b2
!
!
!
! 1
Major 2nds (Two adjacent strings-top three strings)!

!
! 2
!
!
! 1
!
!
Minor 3rds (Two adjacent strings-top three strings)!
!
!
!
!
!
!
!
Major 3rds (Two adjacent strings-top three strings)!
!
!
! 3
! 1 3 1
!
!
!
!
!
!
!
!
!
!
!
!
!
67
Improvisation: !
8-bar minor with chord tones!
In the following progression, all three chords belong to the key of A minor. First
improvise (key center) using the pattern IV A minor and/or A minor pentatonic scale. !
!
Next, focus on playing the pattern IV minor triad arpeggio over the Ami, the pattern III
major triad arpeggio over the C major and the pattern II minor triad arpeggio over the
Dmi --- all in 5th position.!
!
!
!
! 2
! 1 4 b7 b3 5 1
! b6 A minor scale - Octave Shape IV

! 2 5 1 4 2
! b3 b6 b7 b3
!
!
!
!
!
! (Am triad arp) (C triad arp) (Dm triad arp) (Am triad arp)
!
!
! 1 b3 5 1 5 1 3 1 5 1 5 1 b3 5 1
! b3
! 5 1 3 5 1 5 1
! b3 b3 1 5 1 b3 b3 b3
!
!
!
chord tone at least on the first beat of a new chord.!
!
!
68
Unit 14
!
Unit 14 Objectives!
!
Theory: Natural Minor Scale Sharp Key Signatures!
!
Chords: Patterns IV & II Barre Minor 7th!
!
Other: Intervals - 4ths and 5ths on adjacent strings - top 3 strings!
!
Improvisation: 4-bar major chord progression using chord tones!
____________________!
!
!
!
!
!
!
!
!
!
!
!
Theory: !
Natural Minor Scale Sharp Key Signatures!
!
To construct a minor scale, you can follow the same steps we used for building major
scales but using the minor scale formula ( W-H-W-W-H-W-W): !
!
4. Write the minor interval formula between the numbers !
E and F.!
!
!
!
!
!
!
!
!
69
! Step one
!
!
!
!
! Step two
!
!
!
!
!
! Step three
!
!
!
! 1
! 2 b3 4 5 b6 b7 8
! Step four
!
!
!
! 1 2 b3 4 5 b6 b7 8
! W H W W H W W
!
! Step five
!
!
!
!
!
The relative key concept provides an easier way to determine minor key signatures.
Relative keys share the same key signature. C major and A minor share the same key
signature. D major and B minor share the same key signature.!
!
!
Know how to answer two questions related to all minor key signatures:!
1. If you see a key signature, what minor key does it represent?!
2. If know the minor key, what key signature will represent it?!
!
!
!
!
!
!
!
!
70
Here are the steps:!

!
Given a key signature, to determine what minor key it represents:!
! Step 1 - determine the major key the key signature represents!
! Step 2 - find the 6th scale degree of that major scale. That is the minor key tonic.!
!
Given a minor key, to determine the correct key signature:!
! Step 1 - determine relative major key (b3rd scale degree)!
! Step 2 - determine the key signature of the relative major key. That is the relative !
! ! ! minor’s key signature!
!
Note: With our new knowledge of minor key signatures, all key signatures can
represent two keys, the relative major and minor (i.e. two sharps = D major and B
minor). There is no perfect way to know at a glance if the song is in one key or the
other. However, after gaining some experience and familiarity with chord
progressions, it is usually obvious. Often the final chord of the song is the tonic
chord.!
!
!
Learn the table of sharp keys below.!
!
!
Major Key Relative Minor Sharps needed for key
C A minor
G E minor F#
D B minor F# C#
A F# minor F# C# G#
E C# minor F# C# G# D#
B G# minor F# C# G# D# A#
F# D# minor F# C# G# D# A# E#
C# A# minor F# C# G# D# A# E# B#
!
!
!
!
!
!
!
!
71
Chords: !
Patterns IV & II barre Minor 7th!
Patterns IV and II barre chords serve as shell voicings for many other chord types.
Continue the process of learning moveable 7th chords. Learn the fingerings and
components of the following minor 7th chords built from our patterns IV and II minor
barre chords. Understand how they are derivatives of the basic barre chord shapes we
reviewed in Unit 1 and what the chord tones are.!
!
!
! Octave Shape II Minor Barre Minor 7
! X X
!
! 1 1 5 1 b7 5
!
! 1 b3 b3
! 1 5 1 5
!
!
!
!
! Octave Shape IV Minor Barre Minor 7
!
! 1 1 1 b3 5 1 1 b7 b3 5 1
!
!
! 1 5 1 5
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
72
!
Other:!
for perfect 4ths and 5ths, augmented 4ths and diminished 5ths, adjacent strings - top 3
strings region of the neck.!
!
Perfect and Augmented 4th (top three strings-adjacent strings)!
!
! Perfect 4th
!
! 1
!
!
!
!
!
! Augmented 4th
!
!
!
!
!
!
!
!
Perfect and Diminished 5ths (top three strings-adjacent strings)!
!
!
! Perfect 5th
!
!
!
!
!
!
!
! Diminished 5th
!
!
!
!
!
!
!
!
!
73
!
Improvisation: !
4-bar major progression using chord tones!
In the following progression, both chords belong to the key of C major. First improvise
(key center) using the pattern III C major and/or C pentatonic scale. !
!
Next, focus on playing the pattern III major triad arpeggio over the C major and the
pattern I major triad arpeggio over the F major -- both in 5th position.!
!
!
!
! 7
! 6 2 5 1 3 6
! 4 C Major Scale - Octave shape III

! 7 3 6 2 7
! 1 4 5 1
!
!
!
!
!
! (C triad arp) (F triad arp)
!
! 5 1 3 1 3 31
! 5
1
! 3 3
! 1 5 1 5 1 5
!
!
!
Next, blend chord tones and the key center approach with the intent to play a chord
tone at least on the first beat of a new chord.!
!
!
!
74
Unit 15
!
Unit 15 Objectives!
!
Theory: Natural Minor Scale Flat Key Signatures!
!
Scales: Pattern IV Major Pentatonic!
!
Chords: 12-bar Blues !
!
Other: Intervals - 6ths on adjacent strings - top 3 strings!
!
Improvisation: 8-bar major chord progression with chord tones!
!
____________________!
!
Theory: !
!
Natural Minor Scale Flat Key Signatures!
!
Learn the table of flat keys below.!
!
Major Key Relative Minor Flats needed for key
F D minor Bb
Bb G minor Bb Eb
Eb C minor Bb Eb Ab
Ab F minor Bb Eb Ab Db
Db Bb minor Bb Eb Ab Db Gb
Gb Eb minor Bb Eb Ab Db Gb Cb
Cb Ab minor Bb Eb Ab Db Gb Cb Fb
!
!
!
!
!
!
!
!
75
Scales:!
We have learned major pentatonic scales in patterns I, II and III thus far. Expand your
knowledge of the neck by learning the pattern IV major pentatonic scale. This, too, will
be used as a shell for other scales containing a major third.!
!
!
! Octave Shape IV Major Pentatonic
!
! 3 6 2
! 1 1 1 5 1
! 3
! 1 2 5 1 6 2
!
Chords: !
12-bar blues !
The 12-bar blues is a good progression for practicing our moveable dominant 7th
chords. In addition, learning to automatically feel when the chords change is a basic skill
musicians are expected to know. Practice the 12-bar blues progression below using
both of the moveable dominant 7th voicings presented thus far. Memorize them so you
don’t need to look at the page.!
!
Standard 12-bar blues with dominant 7th chords!
!
!
! ! ! ! ! !
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
76
Other:!
for major and minor 6ths, 2 strings apart - top 3 strings region of the neck.!
!
Minor and Major 6th (top four string-non adjacent strings)!
!
!
! 1 1
! 1 1 1 1 1 1
!
!
!
Improvisation: !
8-bar major with chord tones!
!
In the following progression, all chords belong to the key of C major. First improvise (key
center) using the pattern III C major and/or C pentatonic scale. !
!
Next, focus on playing the pattern III major triad arpeggio over the C major, the pattern
IV minor triad over the Ami and the pattern I major triad arpeggio over the F major -- all
in 5th position.!
!
! 7
! 6 2 5 1 3 6
!
4 C major scale - Octave Shape III
7 3 6 2 7
! 1 4 5 1
!
!
!
! (C triad arp)
! (Am triad arp)
! 1
! 5 1 3 1 b3 5 1
! 3 5 1
! 1 5 1 b3 b3
!
!
!
! (F triad arp) (C triad arp)
!
! 5 1 3 1
!
3 5 31
1
! 3
3
!
1 5 1
5 1 5
77
chord tone at least on the first beat of a new chord. 
78
Unit 16
!
Unit 16 Objectives!
!
!
Scales: Pattern V Minor Pentatonic!
!
Arpeggios: Pattern II Major!
!
Chords: 12-bar Minor Blues!
!
Other: Intervals - 7ths and Octaves on non adjacent strings - top 4 strings!
!
Improvisation: 12-bar Blues!
____________________!
!
!
!
!
!
Theory: !
!
Rhythm Notation!
!
Pitch is the highness or lowness of a note. We’ve focused on the vertical axis of music
thus far which involves the concept of pitches and how they function in melodies and
chords. The horizontal axis involves how music relates to time. This is referred to as
rhythm.!
!
One aspect of rhythm is pulse which is normally felt as a pattern -- a combination of
strong and weak beats. The specific structure or pattern is called meter. Common
popular music divides pulses into groups of four and sometimes three. Other
combinations are less common.!
!
For notation, meter is divided into measures. Measures are sometimes called bars.
Measures are separated from each other by bar lines.!
!
Music notation requires symbols to represent the duration of both sound and silence. !
• Notes - represent sound!
• Rests - represent silence!
!
!
!
!
79
The most common symbols are:! !
Whole note Half note Quarter note Eighth note Sixteenth note
Whole rest Half rest Quarter rest Eighth rest Sixteenth rest
Scales:!
We have learned minor pentatonic scales in patterns II, III and IV thus far. Expand your
knowledge of the neck by learning the pattern V minor pentatonic scale. This, too, will
be used as a shell for other scales containing a minor third.!
!
! Octave Shape V Minor Pentatonic
!
! 1 5 1 4
! b3 b7 b3
!
! 5
! 1 4 b7 b3 1 4
!
!
Arpeggios:!
!
Using the pattern II octave shape, memorize the major triad arpeggio built within. Note
the similarities to the major pentatonic shell and major triad barre chord built within the
same octave shape. As with major pentatonic scale “shells”, all of our major triad
arpeggio shapes will serve as shells for all other “major” arpeggios. Dedicate your self
to the process of understanding the components (root, 3rd, 5th) of each arpeggio.!
Octave Shape II Major Pentatonic Major Arpeggio Major barre chord

X
3 6 3
1 5 1 2 5 5 1 5 1 5
1 6 2 5 1 3 6 5 1 3 5 1 3
80
Chords: !
12-bar blues !
There are numerous variations of the 12-bar minor blues. They are all good
progressions for practicing our moveable 7th chords. In addition, learning to “feel” when
the chords change in minor blues is a basic skill musicians are expected to know. !
!
Written below is a common version which can be reharmonized many ways. Practice it
using all of the major 7, dominant 7th and minor 7th voicings presented thus far.
Memorize the progression so you don’t need to look at the page.!
!
Common Minor Blues!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
Other:!
for major and minor 7ths and octaves, 2 strings away - top 3 strings region of the neck.!
Major 7th Minor 7th
1 1 1 1
1 1
1 1
81
! Octave
!
!
1 1 1 1
!
!
! 1 1
! 1 1
!
!
!
Improvisation: !
Several fundamental improvisation concepts have been introduced this far: the key
center & chord tone approaches, solo shaping and developing motifs. !
!
In the last unit, we used the standard 12-bar blues as a place to practice moveable
dominant 7th chords. Learning to feel where the chord changes occur is essential in
soloing as well. A concept called “call and response” is common to blues, can be
applied in almost any style setting and it helps mark where the chords change. !
!
Call and response falls into the “motif” category. Using the pattern IV blues scale and
the key center approach, improvise a solo over the 12-bar blues. Don’t concern your
self with chord tones or “shaping” for now. Play a simple motif during bars 1 and 2 (call)
and answer with a corresponding motif (response) during bars 3 and 4. Repeat this
process throughout as is diagramed below.!
!
! motif 1 response to motif 1
!
!
!
!
!
!
!
! ! ! ! ! !
!
!
!
! open .......... last ..............
!
!
!
82
!
Unit 17
Unit 17 Objectives!
!
!
Arpeggios: Pattern IV Major!
!
Chords: Reading moveable 7th chord progressions!
!
!
Improvisation: Chord tones in blues!
!
___________________!
!
Theory: !
!
Rhythm Notation!
!
A note head is the round part placed on a line or space. Note heads can be hollow or
filled in depending on its duration value.!
!
q
! stem
!
! note head
!
!
!
!
All notes of shorter duration than a whole note have a stem. !
Stem rules: !
• Stems are approximately one octave in length!
• Stems extend upward and are connected to to the right side of the note head if it is
below middle line of the staff!
• Stems extend downward and are connected to to the left side of the head if it is above
the middle line of the staff!
• If a note head is on the middle line, the stem can go either way but there are other
considerations which will be presented in a later unit.!
!
!
!
!
83
stem is one octave in length
!
!
!
!
!Notes below the middle line
!have stems that extend up on the Notes on orabove the middle line
!right side of the note head. have stems that extend down on the
! left side of the note head.
!
!
!
Notes of a duration shorter than a quarter note will have a flag or flags. Flags can be
replaced by beams when notes with flags are grouped together.!
!
!
e
! stem flag
!
! note head
!
!
!
! beam
!
!
qq
!
!
!
!
Arpeggios: !
Using the pattern IV octave shape, memorize the major triad arpeggio built within. Note
!
!Octave Shape IV
! Major Pentatonic Major Triad Arpeggio Major barre chord
!
! 3 6 2 3
! 5 1 5 1
!1 1 1 1 1 5 1
! 3 3 3
! 1 2 5 1 6 2 5 1 5 1
!
!
!
84
!
Chords:!
Practice the following progressions two ways. First, play the first chord with a pattern IV
chord shape and move as small a distance as possible to the other chords. Second,
play the first chord with a pattern II chord shape and again, move as small a distance as
possible to the other chords.!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
Other: !
Every guitarist’s vocabulary should include licks from a few of the common interval
shapes. We’ll call these money makers. These licks and lick fragments are used for
solos and/or fill-type rhythm guitar parts in many styles. Generally speaking, they are
constructed from 3rds, 4ths, 5ths and 6ths played on the top four-string region of the
neck. (There are examples which use all six strings and there are many ideas which use
2nds, 7ths and octaves.)!
!
Note: For easy reference and instant applicability, we’ll reference many of these ideas to
our octave shapes and pentatonic shells in the next few units. Eventually a complete
picture of scales harmonized along two and 3 strings will be presented. But to get
started and to demonstrate the value of such a project, we’ll focus on some common
moves around very friendly and familiar shapes.!
!
!
!
!
!
!
!
85
!
“Classic Thirds” in pattern III major. !
Play the following example in the key of C major, octave shape III using the 2nd and 3rd
strings. Experiment with the shapes in different ways over this static C chord vamp:!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
• Play them as harmonic intervals (double stops)!
• Play them as melodic intervals (one at a time)!
• Vary the order in which you play them!
• Play the example ascending and descending!
• Use a pick for both!
• Use a pick for the 3rd string and third finger of picking hand for the 2nd string !
!
!
Next, use the same ideas but move between two different chords.!
!
!
!
!
!
For C, play the ideas within the pattern III C octave shape in 5th position. For F, move to
the pattern III F octave shape in 10th position. !
!
86
!
Improvisation: !
Use of the chord tone approach to soloing is prominent in blues. Before starting to learn
how to use this approach, some theoretical anomalies about blues harmony should be
pointed out.!
!
Here is the C blues scale: C! Eb! F! Gb! G! Bb!
R! b3! 4! b5! 5! b7!
!
!
!
!
!
!
In theRcommon form
b3 12-bar blues,
4 b5
the harmony 5
is defined by I7,b7 8
IV7 and V7 chords. In
the key of C (blues), those chords are:!
!
I7 - C7 ... Root-C / 3rd-E / 5th-G / b7th-Bb!
!
IV7 - F7 ... Root-F / 3rd-A / 5th-C / b7th-Eb!
!
V7 - G7 ... Root-G / 3rd-B / 5th-D / b7th-F!
!
!
!
!
! = I7
!
!
!
! R 3 5 b7
! = IV7
!
!
!
! R 3 5 b7
!
! = V7
!
Notice that in each chord, the major 3rd is not part of the C blues scale. (the scale that
R
bears the name of the style of music!) 3! 5 b7
• The 3rd of the C7, “E”, is in direct conflict with the Eb of the blues scale. !
• The 3rd of the F7, “A”, is not in the C blues scale!
• The 3rd of of the G7, “B”, is in direct conflict with the Bb of the C blues scale!
• The 5th of the G7, “D”, is not in the C blues scale!
!
87
These conflicts are acceptable and can be manipulated and exploited for effect.
However, the conflicts can be avoided for effect as well by playing these specific chord
tones during the duration of each chord essentially altering the blues scale momentarily.!
!
Play the pattern IV C blues scale (in 8th position). Next, locate the major 3rds of the I7,
IV7 and V7 chords in at least two places within or near the position.!
!
!
!
!
!major 3rd for C7 = E major 3rd for F7 = A major 3rd for G7 = B
!
! E A B
!
!1 4 b7 b3 5 1 1 4 b7 b3 5 1 1 4 b7 b3 5 1
!
! E B
! 5 1 4 5 1 4 A 5 1 4
!
!
b3 b7 b3 b3 b7 b3 b3 b7 b3
!
! E B
!
Repeat this process in the pattern II blues scale shape. 
88
Unit 18
!
Unit 18 Objectives!
!
!
Scales: Pattern V Major Pentatonic!
!
Arpeggios: Pattern V Major!
!
Chords: Chord progressions using movable 7th chords!
!
!
Improvisation: Chord tones in Blues!
!
____________________!
!
!
Theory: !
!
Rhythm Notation!
!
Meter is shown at the the beginning of a song in the form of a time signature. The time
signature, similar to a key signature, provides the performer with important information
about how the information on the page is to be read. !
!
A time signature has two numbers, one placed above the other. The top number
indicates the number of beats each measure contains and the bottom number indicates
which note symbol (half, quarter, eighth or sixteenth) represents one beat. !
!
“4” is the most common top number, indicating four beats or pulses per measure. Other
common top numbers are 2, 3, 6, and 12. Theoretically, a measure could have any
number of beats but anything other than what is listed above or 5, 7, 9, 11 or 13 is
impractical and rare.!
!
The bottom number represents a note value so only a few numbers are possible. !
• 2 = half note!
• 4 = quarter note!
• 8 = eight note!
• 16 = sixteenth note!
!
!
!
!
89
“4” is the most common bottom number. “8” and “2” are common and “16” is rare.!
!
These are common time signatures:!
! !
!
!
!
!
!
!
!
!
!
!
!
These time signatures are less common but important to know.!
! !
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
90
!
Scales:!
Expand your knowledge of the neck by learning the pattern V major pentatonic scale.
This, too, will be used as a shell for other scales containing a major third.!
!
! Octave Shape V Major Pentatonic
!
! 3
! 5
! 1 2 1 6 2
!
! 3 6 2 5 3
! 1 1
!
!
!
!
Arpeggios: !
Using the pattern V octave shape, memorize the major triad arpeggio built within. Note
!
! Shape V
Octave Major Pentatonic Major Triad Arpeggio Major barre chord
!
! 3 3
!
! 1 2 5 1 6 2 5 1 1
!
! 3 6 2 5 3 3 5 3 5 3
! 1 1 1 1
!
!
!
!
Chords:!
!
!
!
!
!
91
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
Other: !
The classic “seconds to thirds” in pattern III major presented in this unit use the mid-
range strings. Play the following example in the key of C major, octave shape III using
combinations of the 3rd and 4th strings and 4th and 5th strings. Hammer-on with your
3rd finger, Experiment with the shapes in different ways over this static C chord vamp:!
!
! Hammer-on from
your first finger
! to your third
!
!
!
!
!
!
!
!
! 5th position
!
!
!
!
!
92
!
!
• Use a pick for the lower string and third finger of picking had for the upper string !
• Try combining this unit’s ideas with the classic thirds from the last unit.!
!
!
!
!
!
!
!
!
Improvisation: !
Play a very sparse and simple solo over the 12-bar blues focusing on playing the major
3rds of each of the I7, IV7 and V7 chords. Experiment with multiple choruses and what
effect playing and ignoring the thirds has on the sound.!
! major 3rd for C7 = E major 3rd for F7 = A major 3rd for G7 = B
!
! E A B
!
! 1 4 b7 b3 5 1 1 4 b7 b3 5 1 1 4 b7 b3 5 1
! E B
! 5 1 4 5 1 4 A 5 1 4
! b3 b7 b3 b3 b7 b3 b3 b7 b3
!
! E B
!
!
!
!
!
!
!
!
!
!
93
Unit 19
!
Unit 19 Objectives!
!
!
Scales: Pattern I Minor Pentatonic!
!
Arpeggios: Pattern III Minor!
!
Chords: Chord progressions using movable dominant 7th chords!
!
!
!
____________________!
!
!
Theory: !
!
Rhythm Notation!
!
4/4 time is very common and we will use it as a reference in the discussion about note
and rest values (duration). Any and all time that passes in a piece of music, including
silence, must be represented with a symbol. Notes are used to represent sound and
rests are used to represent silence. The note and rest values discussed earlier are
defined below. !
!
In the following table, note and rest values (of all but a whole note and whole rest) are
the product of dividing a larger note by two:!
!
whole note ! ! ! ! =! whole rest ! ! = ! 4 beats (in 4/4 time)!
!
!
!
!
!
half note(half of a whole)! ! =! half rest! ! =! 2 beats!
!
!
!
!
!
!
94
quarter note (half of a half)!! =! quarter rest! ! =! 1 beat!

!
!
!
!
!
eighth note (half of a quarter)! =! eighth rest! ! =! 1/2 beat!
!
!
!
!
!
sixteenth note (half of an eighth)! = ! sixteenth rest!! =! 1/4 beat!
!
!
!
!
!
!
Values created by dividing a note by three are called triplets. The following table shows
how triplets are the product of dividing by three.!
!
whole note divided into three parts! =! 3 half note triplets ! !
!
!
!
!
!
half note divided into three parts! ! =! 3 quarter note triplets!
!
!
!
!
!
quarter note divided into three parts! =! 3 eighth note triplets!
!
!
!
!
!
!
eighth note divided into three parts! =! 3 sixteenth note triplets!
!
!
!
!
95
Scales:!
We have learned minor pentatonic scales in patterns II, III, IV and V thus far. Expand
your knowledge of the neck by learning the pattern I minor pentatonic scale. This, too,
will be used as a shell for other scales containing a minor third.!
! Octave Shape I Minor Pentatonic
!
!
! 5
! 1 4 b7 b3 1 4
!
!
! 1 5 1 4 b7 5
!
! b3
!
!
Arpeggios:!
Using the pattern III octave shape, memorize the minor triad arpeggio built within. Note
the similarities to the minor pentatonic shell built within the same octave shape. As with
minor pentatonic scale “shells”, all of our minor triad arpeggio shapes will serve as
shells for all other “minor” arpeggios. Dedicate your self to the process of understanding
the components (root, 3rd, 5th) of each arpeggio.!
!
! Octave Shape III Minor Pentatonic Minor Arpeggio
!
! 1 5 1 5 1
!
! b7 b3 4 b7 b3
!
!
! 1 1 1 4 b7 b3 5 1 1 b3 5 1
!
!
!
!
!
Chords:!
!
!
!
!
!
96
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
Other: !
Play the following “classic 4ths” example in the key of C major, “around” octave shape
III using combinations of the 1st & 2nd, 2nd & 3rd and 3rd & 4th strings. Experiment
with the shapes in different ways over this static C chord vamp:!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
97
!
• Try combining this unit’s ideas with the classic thirds from the last unit!
• Slide into the double stops from above or below for the “crying” effect!
!
!
!
!
!
!
!
!
!
Improvisation:!
The chord tone approach is more straight forward in minor blues. The anomalies
encountered with blues based on dominant I, IV and V chords don’t appear. The chord
tones of the chords used in common minor blues are generally accessible “in position”
and within the minor pentatonic, blues and natural minor scales.!
Play the pattern IV C blues scale (in 8th position). Next, locate the minor 3rds of the
Imi7 and IVmi7 chords and the major 3rd of the V7 chord in at least two places within or
near the position. Target these notes when when soloing over the chords. We focus on
the 3rds because they are the “defining” tones of any chord.!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
98
!
!
!
!
!
!
!
!
!
!
!
minor 3rd for Cm7 = Eb minor 3rd for Fm7 = Ab major 3rd for G7 = B
1 4 b7 Eb 5 1 1 5 1 4 b7 b3 5 1
4 b7 b3 1
Ab B
5 1 4 5 5 1 4
1 4
Eb b7 Eb b3 Ab b7 b3 b3 b7 b3
major 3rd for Abmaj7 = C
C 4 b7 b3 5 C
5 C 4
b3 b7 b3
99
Unit 20
!
Unit 20 Objectives!
!
!
Arpeggios: Pattern I Minor!
!
Chords: Chord progressions using movable 7th chords!
!
Other: Standard interval shape ideas (money makers)!
!
____________________!
!
!
!
Theory:!
Whole, half, quarter, eighth and sixteenth notes and rests as well as half, quarter, eighth
and sixteenth triplets and rests represent only some of the finite durations of sound and
silence. Dotted notes, dotted rests and ties are notation devices that provide notation
solutions for values which are not represented in the list above.!
!
Dotted Notes and Dotted Rests!
A dot placed to the right and slightly down from a note or rest extends its duration by
half of its value. For example, a dotted quarter note has a duration of one and a half
quarter notes (quarter note + eighth note).!
!
!
! ! ! ! ! ! =!
!
!
Ties!
A tie is a curved line connecting two note heads of the same pitch. It extends the
duration of the first note by the value of the second note. Ties do not actually touch the
note head. Ties curve away from the direction of the stem of the first note in a tie
situation. !
!
!
!
!
Ties must be used “across bar lines” when the duration of a note extends beyond the
end of a measure.!
!
!
100
!
!
!
!
!
Ties can also be used to facilitate proper grouping. This will be explained in more detail
in the discussion of grouping.!
!
Arpeggios: Pattern I Minor!
Using the pattern I octave shape, memorize the minor triad arpeggio built within. Note
the similarities to the minor pentatonic shell built within the same octave shape. As with
!
! Octave Shape I Minor Pentatonic Minor Triad Arpeggio
!
! 5 5
! 1 4 b7 b3 1 4
! b3 1
!
! 1 5 1 4 b7 5 5 1 5
! b3 b3
!
Chords:!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
101
Other: !
Play the following “classic 6ths” example in the key of C major, starting at the top of
octave shape III and moving into octave shape IV using combinations of the 1st & 3rd
and 2nd & 4th strings. Experiment with the shapes in different ways over this static C
chord vamp:!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
• Try combining this unit’s ideas with the classic thirds and 4ths from previous units!
!
!
!
!
!
!
For C, play the ideas referencing the pattern III C octave shape in 5th position. For F,
move to the pattern III F octave shape in 10th position. !
!
!
!
!
102

Continue exploring the chord tone approach in minor blues. In the last unit the focus
was on staying in or around pattern IV blues. Play the pattern II C blues scale (in 3rd
and 15th position). Next, locate the minor 3rds of the Imi7 and IVmi7 chords and the
major 3rd of the V7 chord in at least two places within or near the position. Target these
notes when when soloing over the chords.!
!
!
!
!
!
 
103
Unit 21
!
Unit 21 Objectives!
!
!
Arpeggios: Pattern V Minor!
!
Chords: Moveable 7th chord progressions!
!
Other: Standard interval shape ideas (money makers)!
!
!
____________________!
!
!
!
!
!
Theory:!
4/4 time is so common that it is often referred to as “common time” and the time
signature is sometimes even shown as a “C” written in the staff instead of 4/4. Because
of our familiarity with 4/4, we’ll use it for an introduction to the rules of spacing and
grouping. !
!
!
!
!
Spacing!
Spacing is crucial because written music should “look the way it sounds” both
melodically and rhythmically. Notes and their surrounding “personal space” should
occupy the physical region of a measure proportionate to their value. !
!
!
!
!
!
!
!
!
!
!
!
!
104
Grouping!
Proper grouping organizes notes so that rhythms are easy to recognize and read. In 4/4
time, there are several rules to begin with. (There are exceptions) !
• When the smallest note or rest value in a measure is a quarter note, there is no rule
about grouping.!
!
!
!
!
!
!
!
!
!
• Beams are used in place of flags when grouping notes smaller than quarter notes
together.!
!
!
!
!
!
!
!
• When the smallest note or rest value in a measure is an eighth note, beat 3 must be
marked with a note or rest. If a note is carried over from the beat or beats before,
a tie is used extending the note from the first half of the measure to the symbol
on beat 3. Beams cannot cross from beat 2 to beat 3 when the smallest note or rest
value in a measure is an eighth note!
!
!
!
!
!
!
!
• When the smallest note or rest value in a measure is a sixteenth note, all four beats
must be marked with a note or rest. If a note is carried over from the beat or beats
before, a tie is used extending the note from the previous beat to the symbol on the
beat. Beams cannot cross from beat to beat when the smallest not or rest value in a
measure is a sixteenth note.!
!
!
!
!
!
!
105
!
Arpeggios: !
Using the pattern V octave shape, memorize the major triad arpeggio built within. Note
the similarities to the major pentatonic shell built within the same octave shape. As with
! Octave Shape V Minor Pentatonic Minor Triad Arpeggio
!
!
! 1 5 1 4 5 1
! b3 b7 b3 b3 b3
!
! 5 5
!
! 1 4 b7 b3 1 4 b3 1
!
!
!
!
Chords:!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
106
!
Other: !
Play the following “classic 6ths for dominant 7” example in the key of C, starting at the
top of octave shape III using combinations of the 1st & 3rd and 2nd & 4th strings.
Experiment with the shapes in different ways over this static C chord vamp:!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
• Try combining this unit’s ideas with the classic thirds and 4ths from previous units!
!
!
!
!
!
!
!
!
For C, play the ideas referencing the pattern III C octave shape in 5th position. For F,
move to the pattern III F octave shape in 10th position. !
!
!
!
!
107
!
Improvisation:!
Play a very sparse and simple solo over the 12-bar blues focusing on using “classic
6ths money makers” for each of the I7, IV7 and V7 chords. To begin, find the roots of
each chord on the 1st string for referencing.!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
Next, incorporate “classic 6ths for dominant 7” over each chord. To begin, find the roots
of each chord on the 1st string for referencing.!
!
!
!
108
Unit 22
!
Unit 22 Objectives:!
!
!
Chords: Moveable 7th chord progressions!
!
!
__________!
!
Theory:!
Rewrite the following examples using proper spacing and grouping.!
!
Example One:!
!
!
!
!
Example Two:!
!
!
!
!
!
Example Three:!
!
!
!
!
!
Example Four:!
!
!
!
!
!
!
!
!
!
!
!
!
109
Chords: !
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
Improvisation:!
Play a very sparse and simple solo over the 12-bar blues focusing on using “classic
6ths” and “classic 6ths for dominant 7” for each of the I7, IV7 and V7 chords. Add the
new idea presented above along with thirds. To begin, find the roots of each chord on
the 1st string for referencing.!
!
Classic 6ths! ! ! Classic 6th for Dominant 7th Chords!
!
!
!
!
!
!
!
! Root
!
!
!
!
!
!
110
!
!
!
!
!
!
111
Scales
!
Octave shape
! 1 1 1
1 1
! 1
1
1 1 1
! 1
!
Major Pentatonic
3 6 2 5
1
3
5 1
3 6
2 5
6 2
! 5 1 3 6
1
3 6 2
5 1 2 5 1
3
6 2
5 1
3 6
2 5 6 2 5 1 3 6 1
3
! 6 2
5 1 2 5 1
3
6 2 3 6 2 5 3
! 1
Major Scale
3 6 2 5 7 3
! 7
4
7 3 6
1 4 6 2 ! 5 1 3
4
6
5 1 4 2 5 7 3
4
! 6 2 7
1 5 1
!
Minor Pentatonic
5 5 1 4 b7 5
! 5 1 1 4 b7 b3 5 1 5 1 4
4 b7 b3 1 4
5 1
b3 b7 b3 ! 4 b7
5 1 4
b3
5
b7 b3
5 1 4 b7
b3
5 b7 b3 4 b7 1 !4 b7 b3 5 1 b3 b7 b3 4 b7 b3 1 4
!
Blues Scale
5 5
1
b5
4 b7
b3 ! 1 4 b7
b5
b3 5 1
b7 b3
5 1
4 b7 ! b3
5 1 4
b5 b7 b3
b5
!
Minor Scale
2
5
b6
1 4 b7 2
b3 b6
5
! 1 4 b7 b3 5 1
b6
b7 b3 b6
2 5 1
4 b7
! 2 5 1 4 2
b3 b6 b7 b3
112
Arpeggios
Octave shape
1 1 1 1
1 1
1 1
1 1 1
Major Triad Arpeggio
3 5 3 3 5 1 3 3 3
1 5 1 5 1 5 1 5 1
3 3 3
5 1 5 5 1 3 1 5 1 5 1 3 5 3
1
Minor Triad Arpeggio
5 5 1 5 5 1 1 b3 5 1 5 1
b3 1 b3 b3 b3 b3
5 1 5 1 5
5 1 b7 5 b3 1 b3 5 1 b3 b3 b3 1
b3
Minor 7 Arpeggio
5 1 b7 5 1 b7 b3 5 1
b3
5 1 5 1
b7 b3 b7 b3 b7 b3
!
!
!
113
Chords - Open Position

!
1 5 1 1 5 !XX 1 5 1 3
5 1
3
5 1 3
! 5 3 3
! 1 1 1
E A
! D G
X 5 3 XX !
3
1
3
5 1
!
1 1 !
C F
!
!
1 b3 5 1 X 1 5 XX 1
b3
! b3
5 1 5 1 ! 5
1
!
1
Emi
5 1 X 1
Ami
5
! Dmi
XX 1
!
5 1 4 5 1 5
4
! 1 4
!
Esus4 Asus4 Dsus4
!
X 1 2 5
! XX 1 2
5 1 ! 5
! 1
Asus2
! Dsus2
114
Chords - Moveable
!
!
1 5 1 1 5 1 ! 1 5 1 b7 5 1
3 7 3 7 3 3
5 1 5
! 5
!
Major Major7 ! Major 7 Dominant 7
1 b3 5 1
!
1 b7 b3 5 1
!
5 1 5
!
Minor Minor7
!
X X
!X
1 5 1 5 ! 1 b7 5
5 3
7 ! 5
1 5 3 3
!
Major Major7 ! Dominant 7
X X
!
1 5 1 b7 5
b3 b3
!
5 1 5 !
!
Minor Minor7 b3
!
115
Intervals
!
2nds
!
!
m2
!
!
!
M2 !
!
b2 b2
! b2 b2
m2
!
1 1 1
! 1
!
! 2
M2 !
1
!
!
!
!
!
!
!
!
116
3rds
!
!
M3 !
!
!
m3 !
!
!
!
M3 !
!
!
m3 1
3
1
3
1
3
! 1 3 1
3
!
!
!
4ths
! 1
P4 !
!
1
!
#4 !
!
!
117
5ths
b5
P5
6ths
1 1 1 1
m6
1 1 1
1 1 1
M6
1 1 1
Minor 6th Major 6th
1 1
1 1
1 1 1 1
Minor 6th Major 6th
1 1
1 1 1 1 1 1
118
7ths
Minor 7th Major 7th
1 1 1 1 1 1
1 1
Minor 7th Major 7th
1 1 1 1
1 1
1 1
Octave
1 1 1 1
1 1
1 1

Fretboard Biology I: by Joe Elliott

Hochgeladen von

Dokumentinformationen

Originaltitel

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Fretboard Biology I: by Joe Elliott

Hochgeladen von

Copyright:

Verfügbare Formate

!

Unit 1...........................................................page 5! Improvisation: Motifs in minor pentatonic pattern II!

Unit 6.........................................................page 32!

Unit 2.........................................................page 15!

Unit 8.........................................................page 39!

Unit 3........................................................page 21!

Unit 9.........................................................page 46!

Unit 4.......................................................page 25!

Unit 10.....................................................page 50!

Unit 5........................................................page 30!

Unit 11.....................................................page 54! Unit 18.......................................................page 88!

Unit 13....................................................page 63!

Theory: Parallel and relative keys!

Unit 20.......................................................page 99!

Unit 14...................................................page 68!

Unit 22.....................................................page 108!

Unit 17..................................................page 82!

Half Step = One Fret Whole Step = Two Frets

The Musical Alphabet (natural notes): A B C D E F G!

Notes on the Fretboard!

Start! >! >! >! >! >! Peak!

The minor pentatonic scale formula is as follows:!

include the octave)!

3. Number the scale degrees including 8!

4. Write the interval formula between the numbers !

As you build the scales, notice the pattern that develops:!

2. Given the key, what is the key signature?!

Chords: Reading progressions using open chords!

! Note: The quantity of the interval between C and Db is a second. The !

C to Db 1 0.5 2nd Minor 2nd

C to D 2 1 2nd Major 2nd

C to Eb 3 1.5 3rd Minor 3rd

C to E 4 2 3rd Major 3rd

C to F 5 2.5 4th Perfect 4th

C to F# 6 3 4th Augmented 4th

C to Gb 6 3 5th Diminished 5th

C to G 7 3.5 5th Perfect 5th

C to Ab 8 4 6th Minor 6th

C to A 9 4.5 6th Major 6th

C to Bb 10 5 7th Minor 7th

C to B 11 5.5 7th Major 7th

C to C 12 6 8th Perfect 8th!

Octave Shape I Major Pentatonic Major Scale

Emi Ami Dmi

Octave Shape IV Major Major 7 X Major 7 X

Major 2nds (Two adjacent strings-top three strings)!

! b6 A minor scale - Octave Shape IV

Here are the steps:!

! 4 C Major Scale - Octave shape III

The most common symbols are:! !

Octave Shape II Major Pentatonic Major Arpeggio Major barre chord

Major 7th Minor 7th

! open .......... last ..............

quarter note (half of a half)!! =! quarter rest! ! =! 1 beat!

major 3rd for Abmaj7 = C

Improvisation: Chord tones in minor blues!

Major Triad Arpeggio

Minor Triad Arpeggio

Chords - Open Position

Minor 6th Major 6th

Minor 6th Major 6th

Minor 7th Major 7th

Minor 7th Major 7th