guitar method 3

8/2/2019 Guitar Method 3

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THEAJORCALEAscalesaseriesfnotesrrangedna specif icrder.erhapshemost ommoncales hemajorcale.t suseds hbasisor ountlesselodies,i f fs,olos,nd hordrogressions

Scalesre onstructedsingcombinationfwholetepsnd alf teps.Remember:n he uitar,half teps he istanofoneret; wholeteps wo rets.)l lmajorcalesre uiltromhe ollowingtep attern

WHOLEWHOLEHALFWHOLEWHOLEWHOLEHALFThis eriesfwholend alf tepsiveshemajorcalets haracterist icound.

CMAJORCALE

Tobuild Cmajorcale,tart ithhenote and ollowhe tep atternrom bove.

1 2 3 4 5 6 7 8 ( 1 )

Theirstand ighth)egreefa majorcalescalledhe eynoter onic. hiss he home"tone nwhich ostmelodiesnd

PractrceheCmajorcalescendingnd escendingn irst osit ion.

1

Tryhis: tart n econdtring,irstretCand lay majorcalep he econdtring singhe atternfwholend alf teps



, : r- l chord rogressionsre lso erivedrom cales.piecefmusicasedn heCmajorcales n he ey fC. :: 'everykey,herere evenorrespondinghords-oneui l t neach ote f hemajorcale.

D m E m

i i i rv v' tote:

Triadsthree-notehords)se veryther ote fascale'1-3-5,2-4-6,tc.). omanumeralsre sedo abelchord'socation,rthinke v

:".nga closerook teach f he evenhords,oticehatmajorriadsre uilt n he irst,ourth,ndifth otesf he, - minortr iadsre ui l t n he econd,hird,nd ixth otesf he cale;anddiminishedriadsbui l t n he eventhote-=scale.he evenhordsre ommono he ev fCbecausel l evenontainnlvhe otesf heCmaiorcaleno"rsor lats).t s mportantomemorizehis equencefchordypes,s tappl iesoal lmajorcales.

fol lowingxamplesren he ey fC.Practicelayinghe hords;henry mprovisingsingheCmajorcale. hennningo mprovise,layhe calescendingnd escendingnd oticeowhe otesork verhe hords.hen, ix pnotes.t helpsoemphasizehe hordones.

1

ACK

playB times

RACK

n l n r r R f i r n a c

SACK

n l a t t R f i r na <| J ' u ) | v

eeheReferenceectiont heend f his ookormorenformationnchord onstruction.



GMAJORCALE

Tobuild Gmajorcale,tart ithhe ote and pplyhemajor-scaletep attern.he ssharpedocompletehepattern

whole wnore har{ whole wholp whole hal f

Theriadsuilt n henotesn heGmaiorcalere:

rf,oim

I V V v i v i i "

PracticeheGmajorcalen irst osition.emember:he ey ignatureorGmajorsone harpF{)

B3

A2

G1

Now lay well-knownelodysing otesnd hordromheGmajorcale.

sBACK

THEIRSTOEL



',IAJORSCALE

- 1Dmajorcale,tart ith henote and pplyhemajor-scaletep attern.

, . 'ads ui l t n he otesn heDmaiorcalere:

D E m r#m c#oim

t i i i i i tv v vi vi i '

theDmajorcalescendingnd escendingn irst osit ion.emember:he ey ignatureorDmajors wo harpsandC#).

F#3

E2

RIFFND

emajorcaletep atternan e ppliedoany oot oteocreatenymajorcale.fyou tart nE, ouwill avenEmajorfyou tart nF, ouwillhavenFmajorcale.fyou tart nF{, ouwillhavenFfmajorcale,nd oon.

b



SIXTEENTHOTESThe ixteenthote as solid val ead ith stem nd itherwo lags r wobeams.t asts alf s ong s he ighthote

:

c ) ) . ) o ) = a a . a = a

Theollowinghart howshe elationshipfsixteenthotesoallthehythmicaluesouhaveearned.'1Whole ote o

= 2 Half otes )

= 4 Quarterotes )

= BEighth otes

= 16Sixteenthotesa a a a a a a a a a a a a a a a

-J-J-.,] !l-

Sinceherereour ixteenthotesnone uarterote eat ,ounthem yaddinghe yl lablese"

anda"(pronounceduh").

The ount ingould e:

? . ? . ? . . ? a ? . ? ? . ? .t t t l t t t t t l lt - - - -- - - -1 e & a 2 e & a 3 e & a 4 e & a

Practicehe ollowingixteenthote xercises.eginlayinghem lowly nd ccurately,henncreasehe empo.ap ourfoot neach eat f hemeasure.

)

)

)

1 1

& a 2 ( e ) &

, t - V - ( V )l

a 3

- V

1 e & a 2 e & a 3 e & 4 e & 1 e & a 2 & a 3 e &



: Te here rewobeats ermeasurendhequarterote ets ne eat.

ARKANSASRAVELER

Y - v -

Fiddleune

c- V - V



EXOTICOCK

1 3

TBACKFREEDOMOCK

1 4

EINELEINEACHTMUSIK(ALittle ight usic) Mhi:-

1 5



e he therottedotesou'velayed,he ot fter nei0hthotencreaseshe aluel he ote yone-half.

rcehe ottedightheceivesnly part fabeatn t , \, or I time, sixteenthsaddedo t ocompletehe eat^

= ) +'lz Beal '/ , Beat rl rBe?t 'l ' 1 Beat

ayo earndottedighths o hink f tas hreeied ixteenthotes.his i l l elpou layhe hythm 0re ccu-Practicehe ollowinoxercisentil ou an l avhe ubdivisionf hebeat asilv.

Nt

Beat+

,

7

TRAMPRAMP,RAMP



THEHROMATICCALEThe hromaticcalesmadepentirelyfhalf-steps;herefore,twi l l se veryvai lableret n he etboard.fyou la: ,=-

fret nagiventringromheopen oteo he welfthret, ouwillbeplayingone-octavehromaticcale.

When layinghenext xample,old own ouringerssyou scendneach tr ing. ot icehat harpsre sedot ' :-=

ascendingcale hile ats re sedor he escent.

The iagramt he i ght howsl lof he otesvithinhe irstwelverets

of heguitaringerboard.ract icinghe hromaticxerciseselowachday i l l reat lyncreaseouringerexteri tynd ccuracy.

E A D G B

F Af/Bb Dfi/E' GilA' C F

FilGu B E A CillDbFVG,

3rdFret G C F A{8, D G

GVA6CTID6 frIG', B DVE',GVA,

s thFre t A D G C E A

ATiB' DTIE6Gfi/A' Gf/DT F AfrIBV

TthFret B E A D FVG.,

E

C F A1IBODqE' G C

lo thFretD G C F

AD

DrlEbGilA, CrlDbFrlG6 AUB",

10

l 2 t hF re t E A D G B E



: nT imeCrsano the rwayo fr i t i ngN .Ano the rwayo fr i t i ng! t ime( twobea t spe rmeasureand theha l fo t e

THENTERIAINER SmnJrplin

Fss$*wxT

t mc $ c3o"



Playhe

QTRACK3

next iecewicend radual lypeedp.

IN HEALLFHEOUNTAINING

22

ESTUDIOTRACK4



ST.OUISLUES WIHandy

I hate o seeFeel- n' to - mor - row the eve nin' sunlike | feel go down.to - day.

row_sun go down.feel to - dav.

the eve - nin'I r ke |

Hate to seeFeel to - mor

;t',li: ,r

Causemy ba- byl ' l l packmy trunk

r1..,I:

he done left this town.makemy get - a - way. St.Lou-is

wom-an with herpow-der- and for

d ia - mondstore bought

pulls that man 'round

the man I love

| | 2.,"" ."." rr,\.i j ,

by herwouldnot

a - prongone no

strings.where.

;1,.:i ;,.

'Twantfor

Got he

Lou is

i;::: "l:il

Blues

iitii i:l:i'

just as

;:, li'

b lue a s _ l _

! l : . l ! , l r

That

j , , . {:

a heart l ike rocK seaast in

I i r : :

13

else he- would n't have gone- so- far - f rom- me.



BARREHORDSBarrehordsre hordsnwhichwoormoretringsre epressedsinghe ameinger. ost arrehordsoverve rsixstr ingsnd ontainoopen tr ings.heingeringhapesremovablend an e hif tedpordownheneckodifferenposit ionsoproducetherhordsf he ameuali ty.

E.TYPEARREHORDOne f hemost seful ovablearrehordss heonebasedn he pen chord.he oot ote f hisEshapeson he ixth tr ing.herefore,his hape i l lbeusedoplaymajorhordspand ownhe ixth tring.

Followhesetepso orm heE-typearrehord.

1. Play nopen chord,utuse our nd, rd,and th inoers.

2. Sl idehis hordhapepone et, nd dd our1st ngercrosshe st et,ormingbarre.

Strum ll ix tringsoplay ourirst arrehord. akeure achtringings ut learly.trikeachote ne ta imeo estforclarity.

This articulararrehordsFmajor ecausets ootsFon he ixth tring.ou an pplyhis amehapeoany oot otealonghe ixth tr ing:

E

B

G

D

AE

7th Fret

Nowry he ollowingarrehord xerciseoget sedo he eet f hemovablehape.

Fa l I t a o

|f|ftl a a | l

Ff,+

{Jllf} 2 fr

[-T-R-Ir o l o a q o n r a q q r r r a l ? ? l | |

1 3 4 2 1 1

G,-

{Jllf{3 tr

fT-R-|" ^ r ^ ^ ^ ^ l ? ? l t ll E f E d - v P l v J J u r E 1 3 4 2 1 1

-.fr.

rereaseressure



ou reamiliarith hebasiceel ndmovementf heE-type ajor arrehord,t seasyoadapthis hapeo ormeventh,ndminoreventharrehords.

ou ubtractour nd nger omhemajorarrehord,ou ave minorarrehord.fyou ubtractour th ingeromhord,ouhave seventharrehord.fyou ubtractour nd nd th ingersrom hemajor arrehord,

ave minoreventharrehord.tudyhe hotosnd iagramselow.

Fm F7 Fm7

y singhese ew arrehordsn he xampleselow.

B m

5TTT5a7r

fi-flTrI t t I |

G

{Jllf}3fr

fT-R-|t ? ? | l1 3 4 2 1 1

{TTTT}s tr

IT-RTIt ? ? | l

A

{fJlffs fr

rI-R-|t a a | |

A

z-r'fr\ ,'fr\

G m 7

{Jfff}3 frt-t-t-l-t-trfi-T-rl

c{TTTII s tr

n|-|tt e a | |1 3 4 2 1 1

C m 7

{Tfffas frITT]TIt ? | t l1 3 1 1 1 1

A m

{Jlff}5 frrT-nTtt ? ? | l1 3 4 1 1 1

G m 7

{Jfffi3frT-mtt ? | i l' 13 1 1 1 1

F

e I t t trT-nTtI t t l t l

G 7{TfTf}3 rr.t-l-tflf{Tfl1 3 1 2 1 1

i f f icultyt irst nplayingarrehordssnormal.erere omeips ohelp ou:. Insteadfholdingourirst ingerotallylat, otateta itt le nt0tsside earesthe humb.. Placeourefthumb irectlyehindhe irst-f ingerarreoradditionalupport.. Move0ur lbow fyoureft rmncloseoyour ody,veno hepointhatt's ouchingour ody t hewaist.

15



IRACKI

Someongsontainoth arrehordsnd penhords.

A m G F E- ^ ^ilms fr{TTTI}3 . {TTTTI rT.-{T1rrr rrrr f|-trn fa{T]-]Lt|_r_r Lt|_l_.i nTTTt tlTfn1 3 4 1 1 1 1 3 4 2 i 1 i s n z t t 2 3 1

ongntroducesnew -typearrehord:scommono Latinazz.

IRACK2

JAZZY

F

a t t t a oTTT'T']l.#

t ? ? | l

Effif|_-sTnn-n-n

themajoreventhhord.lsoeaturedsa syncopatedtrum atternhat

A m G A m{TTTII5 frrTI]]t ? ? | l1 3 4 1 1 1

BOSSAOVA

Cmai7

ITTTT]3frr-ft-ilt| ? t ? l

1 3 2 4 1

Dm7\ -^ - ,l l l l l 1 5 r .

r-T-[Tt| ? | l

Db7

fTTm4 fr.fT-mt| | ? t ? l

1 3 1 4 1

G 7

.TTTI'm-TTll-rlrn1 3 1 2 1 1

C majT

faTTTl3 fr

n||l| ? t ? l

1 3 2 4 1

FTTT} 5 ,

T.fli.t| ? | l

3 tr.

owrymixingarrehordsith ingleotes.

HARDOCK

CmajT

IHACK3

ruRACK4

F#mF#m A E Ga l a ^

l l l a l l a l l l Q Q o r l

t a a i l l | l a || | | t a a | l- - ; z - -

i a a 2 i j

A

{TTTIi 5fr.rfRTt ? ? r l1 3 4 2 1 1

A B

BABREXAM

c c c ^ ^ - , A ^ ^rTET'l {TTTI+3 fr.{fllf}5 fr {TTT512 r.{TTTL5 fraTTT-a7 r.rfifit tl-tiTt [T-R-I ITIT rTt-il nr.]-ll l l l l l r ? ? r r t e e | t t t | | t t | t l

2 3 1 1 3 4 2 1 1 1 3 4 2 1 1 1 3 4 1 1 1 1 3 4 2 1 1 1 3 4 2 1 1

{Tl-IIi 2 f .{TTTTl5 f {Jllf} 7 {r

|Tm m-iTt rfnTtt ? ? | t t e ? | t t t t | | l1 3 4 1 1 1 1 3 4 2 1 1 1 3 4 2 1 1

^

l-JTTTl3fr.

l...l....|+| | l,+.1 |[TTil

' 13 3 3 1

D

ITT|R5ff

[-FFNtTfffl

' 13 3 3 1

E

[aTfR7 frt-t-FFItITTT|I

1 3 3 3 1



MOVABLECALESYou lreadynow owoplay calesn irst osition.obecomeskil lfuloloistnd roficientll-arounduitarist,oumustlearnoplay calesnywheren he ingerboard.

The onceptf movablecalesssimilaro hat fpowerhordsnd arrehords.or achcaleouwill earnwomovablpatterns,newith ts onic n he ixth tringnd notherith ts onic n he ifth tring. yusingheseonicssapoint f

reference,Ou

anmovehe calespand ownheneckoaccommodateny ey. impiy atih ne f he onicso tsrespectiveote n he ingerboard,ndhe est f hepatternollowsccordingly.

THEAJORCALE

Studyhe ollowingovableajorcaleatterns.onicsre ndicatedith nooen ircre.

Tonicn ifthtringonicnSixthtring

A Majorcale

DMajorcale



e lternateickingS gupracticehe ollowingajorcalexerglses'

caleattem

MISSCLE()D,SEEL



THEINORCAI.EStudyhe ol lowingovableinorcaleatterns.

Tonicn ifthtringonicnSixthtilng

AMinorcaleattern

aRACKI

GODESTEMERRYENTLEMEN

5



THEINORENTATONICCALEStudyhe ollowingovableinor entatoniccaleatterns.

TonicnSixthtring TonicnFifth tdng

GMinorentatoniciff

CMinorentatonicick

THEAJORENTATONICCALEStudyhe ollowingovableajor entatoniccaleatterns

TonicnSixth tring TonicnFifth tring

CMajorentatoniciff



IJiJlfJ1:S:I:ouXf:3 fi:JliJ;lfXill,il:fli,o:fi';0ricksnahisherositionnheeckinsers2, , ndpta

Noticehat ome otesan eplayednanalternateositionn hefretboard.hift ourirst ingerowno ret oteshat eedobeplayedn heourthret nd tretchourourthingero ret

otesthat eedobeplayedn heninthiet.

Gf/Ab Cfi/DLCMajorcale

ArtBbDilEbG#/Ar r/or F A*lB', FifthPositionFingering E A D F f / G r i

9 F A7B,DlE, G C

Cf/Db Ff,lGb B Gf/ArC#/Dr- This notecan alsobe playedat the thirdstring, ourth rer.

sflACK2

DEEPIVEB African-Americpiritu

G 7

9

BOUREE

"5.

IBACK3SLOWFAST

JSBach



HEAVYOCK

JAZZIN'THELUES5



COMPOUNDIMEUnt i l owyouavelayedime ignaturesnwhichhe uarteroteeceivedne eateg, r , ?t, ) . The hythmiculseftheseime ignaturessdivis ibley wo-four ixteenthotesqual twoighthotes,wo ighthotesqualne uarterote,etc. hisscal ledimpleime. t ime ignaturenwhichhe hythmiculsesdivis ibleythreescal ledompoundime. hemost ommonxamplesfcompoundime re$ and $.

n

P nnnf tn t imehe ottomumberel lsouhathe ighthoteetsne eatndheop umberel lsouhathereU

I rrrrLare ix eatsnonemeasure.l l otendestaluesre roport ionateo he ighthote.

\ ea ' o r t

Eighth 1 Beat

playingl Saw hreehips"n i f th osi t ion.e ureo ol lo lvhe ountareful ly.

It )

a. or a.

Do t t edQuar te r =3Bea ts

. or I

Quader2 Beats

I SAWHREEHIPS

P actice

sRACK7

t 6 i' a ' . , r o

K lUtt ]lr E,,'rrsignaturesbasedn he amerinciptes$ time n s?thererewelveeatsermeasurend

^ rne ronthote ets ne eat.\J

G 7

sRACK8

SLOWBLUES

c 7It a l

) -t

1 10 1 2 1 2 3 - 4 - 5 - 6 7 - B - 9 - 1 0 - 1 1 - 1 21 - 2 3 - 4 - 5 - 6 7 - B I - 1 0 - 1 1 - 1 2

c7

B m 7 BbmT

Eb7

Am7

G7 Bb7 Eb7 A.67m7



ARTICULATIONArticulationefersohow ouplay nd onnectotesn heguitar.f pitchesnd hythmsrewhat ouplay,rticulationsOwou lay lides,ammer-ons,ull-ofls,nd endsllbeiongoa specialategoryfarticulationsuitroegato.egatoechniquesllowou 0"slur"

twoormore otesogetherocreatesmooth,lowingoundnd elp ive ourmusiclavorand xpression.

THEI.IDEThe lidesplayedy ollowingheseteps:

. Depresshestringwith he eft-handinger.

. Pickhe tring ithhe ight and

. Maintainressures you moveyour eft-handinger por downthe retboardo he econdositionsnown.The econdote s nor

picked.)

sRACK9

BOUNCYLUES

A r - e

ruRACKO

POWEBHOBD|.IDES

C#5D5 cls D5 a

32



AMMER-ON

ammer-ons namedor heaction f he eft-handngershe retboard.oplayhe ammer-onollowheseteps:

. Depresshe tring ithhe eft-handinger.

. Pickhe tr ing i thhe ight and.

. Maintainressures ou uicklyressown ntothe ret f he econdhigher)ote n he ame

string,singhe nitialttackocarryhe one.

ACK1FOLKATIERN

2 R()CK'N'AMMER

ACOUSTICOCK

let ing hroughout

4

BOOGIELUES



THEU|-L.OFF

The ull-offs he ppositef hehammer-on.oplaythe ull-offollowheseteps.

. Depresshe tring ithhe eft-handinger.

. Pickhe tr ing i thhe ight and

. Maintainressuresyou ul lhe eft-handfingerowardhepalm f yourhandosoundhe ote ehindton he ametr ing.usinghe nitialttackocarrvhe one.

eRACK5 POWERULI

-ons, ul l-offs,nd l idesre l lusedn he ext xample

ruHACK6

B|.UESALTZ

BLUEGRASSUN

Hammern

r alr

TBACK7SLOWFAST

34



RACK8

TRINGEND

he tring end roduceshe ocal-l ikeound fblues,ock, nd op uitar.obend stringollowheseteps:

. Depresshe tr ing i thhe eft-handrd nger.

. Maintainressures ou ushhe tr ingpwardrpul ltdownward.

. Use ourirst nd econdingersoraddit ionalupport

re ndicatedn music ya pointedlur nstandard ,nd narrown ablature.enolngtr ingt ; i t i 75

nsteel-str inguitarsnd sdonemost ast lyn he

o he iqht re ome haracteristicends:

ROCKICK

ontainsbend nd elease.aintainressures 0u owerhe end acko tsoriginali tch.

SWAMPYLUES

bendingwo tr ingst he ameime

DOUBLE-STOPEND*TRACKO

35

9



JAM ESSIONNowt s imeousehe hordsnd calesou nowomakeome fy0ur wnmusic.his ect ionrovidesen hordro-gressionsoundnvar ioususictyles.ou an i therol lowhe hordymbolsnd t rumlong,rusehe uggestedcalestopract icemprovising.isteno he ecordingnd opyhe oloicks;henry reat ing0ur wn olos.fyou on' t aveherecording,akeurns layinghythmndeads ithriendsr ecord0ur wn hythmracksnd layead verthem.

Eachf heamrackseginsithGreg och layingolos verhe rstwo imeshrough.sehesesa modelorwhat oucan lay n he emainingix imeshrough.

$IRACKI

POP/ROCKALLADSuggestedcales:majorndGmajorentatonic

G D CplayB times

9

sRACK2

FUNKSuggestedcale.minorentatonic

A 7 D 7play I trmes

0

sHACK3

G 7ptay a ilmes

C majT

SMOOTHAZZSuggestedcales:majornd majorentatonic

GmajT FmajT D m 7

1

sRACK4

LATINOCKSuggestedcales:minorndDminorentatonic

D m 7 A T D m 7 A 7'7 Dm7play B times

36



RACK5

COUNTRYSuggestedcale:majorentatonic

G D playBtrmes

6 Suggestedcale:major

CmajT

JAZZWALIZ

Dm 7 CmaiTptay a i lmes

G 7

RACK7 REGGAESuggestedcale.maiorentatonic

B mn l e t t R f i m a c

HARDOCKSuggestedcales.minornd minorentatonic

E m

Suggestedcale:minor entatonic

F

D E m

sRACK9

BLUES

n l a t t R l i r n a ql \ t tu l v

B'7 c7

F#m7EmaiT

plavB ttmes

sRACKO

JATZOCKSuggestedcale:major

EmaiT F#m7

playB trmes

EmaiT



afi)L'za

IRACK1SLOWi AST

9

A m/ - \ ,

38



39



REFEBENCEECTIONCIRCLEFIFTHSThe ircle f i l thssa usefulool f youwanto know hatchordsre 'mm'nwithinkey. ajoreysinehe utsidefthe ircle;heirelativeinorsinehe nslde.

Rightow,he oxshighlightinghordshat elongobothmajor nd ts elativeminor.o ind he hordsoranotherkey,ustmentallyotatehebox.

Ff,(cb)

THREE.NOTEHORDORMSThese ovablehree-notehapesre asyoplay nd ommonlysednpop,unk, nd eggaetyles.ayattentiono he ootneachoicing;t ells ouwhat hord0u re laying

KEYt ' C

B bm ( Ebm1 G am

;- Dnm /

pb

Major B

Minor 5th Fret

7th Fret

G$/Ab c F

A CillDbFfrlGb

AillBv D G

B DfrIEvGilAu

A

CtlDr F AtlBs

D FfrlGu B

E G#lA6CiltDb

x x x

Iroot

Iroot I

root

1rool I

root Iroot

12thFret

FTIG' AilIBi Dr/Eb



HORDS

re omeess 0mm0npenhordshrchou aveot earnedp o his oint.

CmajTo o o

c76

sus hords,ou eplacehe hird fa chord ithhe ourth s nsus4

s nsus2. he esult ingounds ncompleterunresolvedut

orminor.

(pronouncedsuss-four")orsometimesi thhe

createsn nteresttngoundhat s neither alor

Dsus2 Asus4

x x o o x ox o o o x o o

nadd hordssimplybasichordsuchsamajorhord)owhichou dd nextraote.fyouake Cchordnd dd

Dnoteo t, orexample,ouhave Cadd2hordwith otes -D-E-G).his hordsdifferentromCsus2'hich as o

Dsus4

x x o

Asus2 Esus4

Aadd9add2x x o

Cadd9x o o

Eadd9

Dm/Ax o o

Em(add9)o o o o

Faddg/Ax o

hordsre olorful,nterestinghordshat dd picendlavoroallstylesfmustc.slashhords'simply,chord

slash/)

n tsname,snG/-BpronouncedGover "). o he eft f he lashs he hordtself;o he ight f he

s hebass oteor hat hord.

c/Go

D/F#o o

G/Bo o o

41



CHORDONSTRUCTION

All hordsre onstructedsingntervals.n ntervals he istanceetweennywonotes.houghhere remanyypes fintervals,here re nlyive ategories.ajor, inor,erfect,ugmented,nd iminished.nterestingly,hemajorcaleon-tains nlymajornd erfectntervals:

Scale cgree: 1

P5€>

Root

Themajorcalelso appensobeagreattart ingointrom hichoconstructchords.or xample,fwestart t he oot C) nd ddhe ntervalfa majorhird(E) nd perfectifth G), ehaveonstructedCmalorhord.

Inorderoconstructchordtherhan majorhord t eastne f hemajorrperfectntervalseedsobealtered.or xampleakeheCmajorhordouustconstructed,ndowerhe hird egreeE) ne alf tep. enow aveCminor

chord:-rb-eBy oweringhemajorthirdyone alf tep, e reatenewnter-val al ledminorhird.

wecanurtherl terhe hord y latt inghe erfecti f th G). he hordsnowCdim: -Eb-GtheGt epresentsdiminishedifthnterval.

Thiseadss oa basicule f humbohelpememberntervall terat ions:

A majorntervaloweredne alf tepsa minornterval

C minor

Aperfectntervaloweredne alf tepsadiminishednterval.

A perfectntervalaisedne alf tepsanaugmentednterval.

Half tepsndwholetepsre hebuildinglocksf ntervals;hey eterminen nterval'suality-major,inor,tc. n heguitar,half teps usthe lstancerom nereto henext. wholetepsequalo wohalf teps,r wo rets.

Noticehat e ssignednumericalvalueoeachoten hemajorcale,swellasabel inghe ntervals.heseumericalvalues,ermedcale egrees,l low s o"generically"

constructhords,egardlessfkey. or xample,majorhordonsistsof he oot1),majorhird3), nd erfectfth 5).Substitutenymajorcaleor heCmajorcalebove,electcaleegrees1,3,and ,and ouwil l avemajorhordor he caleou elected.

eaug-5

42

C major

C diminishcd

Scale egree:

D majorscale

Interval:Root M2

D rnajorchord



- . chan elowsaconstruct ionummaryf44chordypesbasedn he ey fConly) singhe caleegreeelh00

CHllBDYPE CH|IRDAMT

rnalor

tifth power hord)

suspendedourth

suspendedecond

added inth

sirth

sirth,added inth

major eventh

rnajor inth

majorseventh,hatpeleventh

rnalorhirteenth

C.E-G

C- G

c-l'-G

C-D-G

C-E-G-D

C-E-G-A

C-E-G.A-D

C-E-G.B

C-T-G-B-D

c-E-G-B-r'f,

C-E-G-B-D.A

C

c5Csus4

Csus2

Cadd9

C6

C6/L)

CmaiT

Cmai9

CnaiTf 1

Cmai13

minor

minor, dded inth

minorsixth

minor, latsixth

minor irth,added inth

minorseventh

ninor seventh,lat ifth

minor,major eventh

minorninth

minorninth, lat ifth

minorninth,maior eventh

minoreleventh

minor hirteenth

dominanteventh

seventh,uspendedourth

seventh,lat ifth

ninth

ninth, uspendedourth

ninth, lat ifth

seventh,latninth

seventh,harp inth

seventh,lat ifth,sharpninth

eleventh

seventh,harp leventh

thirteenth

thirteenth,uspendedourth

augmented

seventh,harpifth

ninth,sharpifth

seventh,harpifth, latninth

seventh,harpifth,sharp inth

diminisheddiminishedeventh

t -3-5-b7

t-4-5-b7

t-3-r5-b7r-3-5-b7L)

t-4-5-b79

r-3-r5-r7L)

t-J-5-b7r9

r-3-5-b7-i9

| 3-r5-r7-il9r-5-bi9-11

1-3-5-b7-fI

t-3-5-b7-9-r3

t-4-5-b7L)-r3

l-3-f ,5

r-3-#5-b7

t-3-il5-r7-e

l-3-f5-t7-t9

I 3 f5-t7-fi9

r-b3-r51-b3-b5-bb7

c-F,b-(;

C-Er-G-t)

C-l r - ( l -

C-L-r( i- r

( . -Eb-G-\ -D

C-Ert i -Br

C -Ez - ( i r -B :

C-Er-G-B

C-Ez-G-Br- l )

C-Eb-Gz-Br- I )

C-Eb-G-B)

C-Eb-G-Be-D-[

C-EbG-8, -D-F--\

C-E-G-Br

C-F-G-Bn

c-E-ct-Bt

C-E.G-Bb-D

c-r'-G-Bb,D

C-E '-tsb

C-E-G-B'-Db

c-E-c-Bt-Df

c-E-Gt-Bt-DilC-G-Bb.D-F'

c-E-c-Bb-Ff

C-E-G-Bb-D-A

C-F-G-Bb-D-A

c-E-Gfl

c-E-G#-Bt

c-E-cf-Bt-D

c-E-c{-Bt-Dt

c-E-Gf-Bb-Dil

c-Et-ctc-Eb-Gt-Bbb

Cm

Crn(add9)

Cm6

Cmb6

Cm6/9

Cm 7

Cm7b5

Cm(mai7)

cm9

Cm9h5

Cm9(maj7)

Cml l

Cm13

C7

C7sus4

c7b5

C9

C9sus4

c9b5

c7b9

c7f,9

c7b5f9)c l l

c7# l

c l 3

C 3sus+

Caug

CaugT

Cau99

Caugrb9

Caug;f9

CdintCdirn-

l a



InversionsVoicings

This r ingss oour astopic.houghypicalhord ightonsistfonlyhreer our otes-a riad,orexampre,on-sists f ust root,hird, ndifth; G7 hordonsistsfa root,hird,ifth, nd eventh-theseotesonot ecessarilyavetoappearn hat amerder,rom ottomo op, n he ctualhordsouplay.nversionsre roducedhen0u earrangethe otesfachord:

root

position

Studyhe onstructionf he hordselow.

Amajorcale:-B-C#-[)-E-Ff-Gf

A A mx o x o

Dmajorcale:-E-F#-G-A-B-Cf

D D mx x o x x o

1 s t

inversion

2nd

inversion2n d 3r d

inversion inversion

Practicallypeaking,n heguitar,otesfa chord re ftennvertedrearranged),oubledused orehan nce),nd venomittedo createifferentoicings.achoicingsuniquend et imilar-kindf ike ifferenthadesf he ameolor.

--*-__--->

E G

3rd 5th

{}( _

l s t

D A 4 D F ,( 1 1 51 3 )

D A D F( 1 5 1 b 3 )

D A D F I( 1 5 1 3 )

A E A C E( 1 5 1 ' 3 5 )

A E A C I E( 1 1 3 5 )

45



GEAR

Followingre ome asicuidel inesoconsiderhenhoosinglectr icuitarquipment.

GuitarsThererehreeeneraltypesfelectr icuitars:ol idbody,ol lowbody,nd emi-hol lowbody.he ol idbodyuitarsassoci-ated ost i th ock, lues,ountry,nd oul. hemost opularodelsncludeheFenderiratocaster,ibsones aul,aulReedmith,enderelecaster,ibsonG, ndbanezG. he olidbodyuitars ypicallyeavierhan thers.tsdensityer-

mitsmore ustainndmakest betteruitedorhigh-volumelaying.he ollowbodyuitars he hoicefmostazz'gui-tar ists.t sdist inguishedy tsarchedop nd ack,-shapedoundoles,nd eepides.hemost opularodelsncludetheGibsonS-l75,ibson-5, ibsonuper400,piphonemperor,er i tageagle,ui ld anhattan,nd ariousakesyD'Angel ico,'Aquisto,ndBenedetto.heone f he ol lowbodyuitarsmoreubduedhanhat f he ol idbody,ndtibasicesign akestbetteruitedor ow omid olumelaying.he emi-hol lowbodyuitaras hin, emi-hol iowodywith sol id oodentr ipn he enter.hemost opularodelsncludeheGibsonS-9S5,ibsonS-345,ui ld tarf ireV,Heritage-535,ndEpiphoneheraton.t smost ommonlysed yblues,azz-rock,nd ock uitar ists,ndsknownorprovidinghe est fboth orldsn ermsf one: orerisphan hol lowbodyndmore el lowhan sol idbody.

The layabil ityfvariouslectricuitarsssubjective.n ryingodecidenapr0spectiveuitar,onsidertheeckadius,calelength,eck aterialrosewood,aple,bony),tr ingauge,ndret ize.

AmpsThererewogeneralypesfamps:ube nd olid-state.ubemps re o-namedecausehey re oweredyand etheirtonalharacterist icsrom acuumubes hey roducewarm,moothleanone nd, henhe olumes urnedp, nat-ural istortion.hey re avoredymost lues.azz.ountry,nd oots-rockuitarists.olid-statemps seransistorsorpowerndone' heyreypical lyoreel iablend ersati lehanube mps nd aveome ong ayn ecentearsn ermsofbeingbleoproducewarmone.n he ate 990s.igi tal odel ingechnologyas nabledol id-statempsoaccessan ssortmentfclassicube mponesnd myriadfeffectsol id-statempsre referredymost odernock uitar istsbut re lso idelysedorplayingl lmusicaltyles

EffectsEffectsre eviceshat lugnbetweenour uitarnd mp nd nableouoalterour ignalnavarietyfways.hey reavai lables ndividualnits,al ledoot edals,rasanal l-rn-oneox, al ledmulf i-effecGrocessor.ol lowingsa 1st fthemost opularffects.

Distortion

Chorus

Simulateshe oundfaguitarignalr ivenoo ardorthe mp;theffectan roducenythingfrom bright,uzzyoneoa hick,i r tyone.

Simulateshe oundf woguitarslayingtonce;he ffectan roducenythingrom ush,chimingoundoawarbled,lutter ingound.

Delay rEcho Simulateshe epetit ionfsound;he ffectan dd epthoyourone yproducingnythingoma short,slapback"elayoa onger,mbientoopingound.

Reverb Simulateshenaturalcho roducednvariouso0ms;heeffectan roducenythingromwashy,istant-soundingmbianceoa ive, iry ound.

Wah'Wahedal Producessweeping,ocal-l ikeone y ockinghe rebleack nd orth.

PickupsTherere wogeneralypes f pickups:umbuckingdouble-coi l)nd ingle-coi l .umbuckingickupsroducedark,mellowound hen layingith cleanone nd hick,eavyone hen layingith distortedone.

'slngle-coilpickups

produceglassy,ercussiveound hen layingitha cleanone ndanaggressive,it ingonewhen-laying ithadistortedone.

46



DEFINITIONSORPECIALUITAROTATIONHALF-STEPEND: tr ikehenote nd end

up1/2 tep.

BEND NDRELEASE:tTi|(EhcNO1ENd

bend oas ndicated,he n eleaseac ko

lne r igrnalote. nly he irst ol esstruck

VIBRATo:he trings vrbrated.v apd /

bendingnd eleasinghenote' / h he

frett ingand.

LEGATOLIDE:tr ikehe irst ote nd

then l idehe ameret-handinger p0r

down0 he econdote. he econd0t eis not truck.

NATURALARM0NIC:tr ikehenole hi le

the rel -handtghtlv0ucheshe tr ing

directlyve rhe retndicated.

MUFFLEDTRINGS:percussiveounds

producedy aylnghe rethand crosshe

str ing(s)i thoutepressing.nd tr ik ing

WHoLE-STEPEND: tr ikehenote nd

bend oon e lep.

PRE-BEND:en dhenote s ndrcated

then tr iket .

WIDE IBRATo:he i tchsvaried0 agreateregreeyvibratingit h he rett ing

nan0

SHIFT LIDE:am e s egatol rde,xcepl

the econdot esstruck.

PINCH ARMoNIC:he otes retted

normal lynd harm0nicsproducedy

addingheedge f he humb r he ipol

the ndexinger f hepick an d0 he

normal ic k ttack.

PALM UTING:he otespart ia l lyuted

by hepick an dightly0uchinghe

str ing(s)us t etorehebridge.

GRACEoT E END:tr ikehenote nd

immediatelyen d P s ndicated.

PRE-BENDNDRELEASE:en dhenote

as ndicated.tr iket and eleasehebend

backo heoriginalote.

H A MME R -0N :: ' ( r n ! r s t 0 ' . re r ro ter / h0n.

- ) . ' ' . ^a 'scLno"en0he r o te

i0 n h". .-= , r : ' - , :F aiOti !" rqef lj '

f r e t t i n g, : - : - : : : i ' !

TRILL: ery apidly ernal ::: : : -'

nolesndrcatedyco"t . '

on an d ul l ingll .

SLIGHTMICROT0NE)EN0: tr ike-

note nd en d o1/4 teP

UNISONEND:tr ikehe wonotes

simul taneouslynd endhe ower otp 0

to hepi tch f hehigher.

PULL-0FF:laceot hingersn henotesto besounded.tr ikehe irstnote nd

\/ i th0ut icking.ul l he inger JJ0 sound

th e econdlower)ote.

TAPPING:ammer' tap")he rel ndicatec

\ ' / i thhepick-handndex r middleinger

an d ul l f f o henoterettedy he ret

hand

PICK CRAPE:he dge f hePicks

rubbedow n 0rup ) he tr ing, roducing

a scratchyound.

4, D ' i o t

J[r.^--

t + -rA raIB

*r;;, ruvrn, tm otl '.indicatedyquickly0l l inghe r 1'

bottomo op .

BAKE: raghepick crosshe tr jngs

indicatedit h single otlon.TREM0L0ICKING:he ot espickeds

ra0idlvnd 0ntinuouslyspossible.

A 1

F:E - -

guitar method 3

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