Guitars

Joined: 15 Sep 2010 Posts: 1002 Location: Rock Hill,SC

Alright guys here we go! Gonna start with some basics. I'm gonna assume that you all know your standard tuning Wink

now one thing i notice about alot of online Theory lessons are that they use terms that go above peoples heads. not gonna do that here. Our main term that you will see alot is Root. IE your Root note in the key of A is going to be A. Your Root note is your starting note in scales. Alright moving on to the real start. We are going to be working in the Key of C to start with because C is the perfect Key. Why? Because C contains zero #'s(sharps) or b's(flats). So lets take a look at our notes starting from our Root. The notes are C,D,E,F,G,A,B & back to C. Now i want to go over this scale in a box position & you'll see why later on. So here's a pic of the Tab

That is the first octave of the Major scale. Now when you play this note that you do not i repeat do not start with your index finger. Start with your middle. If you have never used your pinky before you will now. Number you fingers from your index to your pinky 1 thru 4. This is your finger pattern. 2,4 on low E 1,2,4 on A & 1,3,4 on D. Here's some fun info that pattern moved anywhere on the fret board is still the Major scale! So say if we move it to the 5th fret using the same pattern it now becomes the A Major scale. Now remember this is only the first octave or first half of the box position. Here is the rest of the box in Tab

And finger pattern 2,4 on low E 1,2,4 on A 1,3,4 on D 1,3,4 on G 2,4 on B & 1,2 on e. Okay now when practicing this in reps to walk it up & back down will look like this

this is why i have you start with your middle and not on your index. That is the Major scale in C & we did this in a box position it is also the Ionian Mode. So the Major scale & the Ionian are the same.

Alright part II! Wahoo! This time around i'm going to do two things in this lesson. First the "Melodic Minor" scale & second the number system with the scales. I'll go over the number system with chords later on. Alright lets check out the "Melodic Minor" scale. Now i'm sure plenty of you have played this before & called it something different & i'm sure there is probably other scales with the same name as this one. Here is the first octave in tab. Your Root will be D.

Finger pattern will be 1,3,4 on low E 2,4 on A & 1,2,4 on D. Notice the small shift back a fret on the A string. Here's why.

Finger pattern continued 1,2,4 on G 1,3,4 on B & 1 on e
And for reps

Again this is in a box position but don't worry this is just the begining! This "Melodic Minor" is actually the Dorian mode. In this case D Dorian. If you look at the notes we're still in the key of C we're just starting on a different note or Root. All the notes are still the same. The reason i called it the "Melodic Minor"? Try playing this over Maj7 & min7 chords. Just lovely & melodic.

Now onto the number system. This system is used for chord formula's & song writing. We're gonna with numbering in scales. Sounds a bit much yea? It's really not,it just sounds like it would be. Okay folks lets go back to the Major scale or in this case the Ionian mode in C. If that confuses you go back ^ & find the first tab example Wink

Now starting on C go through the first octave & count 1,2,3,4,5,6,7,8. Simple right? So lets stay there for a second. C is your Root which is 1. Lets see what happens when we put 1 & 5 together. Play that & you got a power chord! Wonder what notes you're playing? Well we know you're playing 1 & 5. And we know that 1 is C so go through your alphabet & count C1,D2,E3,F4,G5 well there it is! This works for every chord ever. Granted we've only scratched the surface of this system. We've only used the first octave of the scale & to get some really awesome chords.

PART III-The Saga Continues
Lets start with the Minor scale & then we'll put everything togther at the end.
Alright the first octave of the Minor scale

Finger pattern will be 1,3,4 on E 1,3,4 on A & 1,3 on D.
Second octave

Notice the shift backwards again then shift right back on the B string so the finger pattern will be 1,2,4 on G 1,2,4 on B & 1 on e
And for reps

Again we're in box & still in the key of C & as previous scales this is also a mode. This is the Aeolian mode. Now if you take these scales/modes & play them in sequence starting with the A minor scale you'll notice how much of the fret board you're covering. This is the reason I teach the modes like this instead of going from one to seven in order. So far we've learned the Ionian(Major),Dorian(Melodic Minor) & the Aeolian(Minor). Now as I said before there are seven modes just as there are seven notes in a scale with eight being the octave. Which means there are four other modes we haven't covered. The names of those modes are Phrygian,Lydian,Mixolydian & Locrian. In order from one to seven they are Ionian,Dorian,Phrygian,Lydian,Mixolydian,Aeolian & Locrian.
Each mode has a characteristic key like the Ionian is a Major key. Lets take a look at this with each mode. From one to seven Ionian(Major),Dorian(Minor),Phrygian(Minor),Lydian(Major),Mixolydian(Major),Aeolian(Minor) & Locrian(Dim) which is Diminished. I'll supply tabs like the other modes only if asked as they're very easy to find online. So now lets combine something we went over last time which was counting with the scale with what we just learned about the modes. With the Root of C lets combine the numbers with the modes & their characteristic keys.
1 C Major = Ionian (Major)
2 D Minor = Dorian (Minor)
3 E Minor = Phrygian (Minor)
4 F Major = Lydian (Major)
5 G Major = Mixolydian (Major)
6 A Minor = Aeolian (Minor)
7 B Diminished = Locrian (Diminished)

Now lets move onto the number system!
Last time we figured out how to find the notes in a power chord & what the chord formula was for it(1 + 5). If you look at any Major chord you'll notice you're playing only three notes. Using the number system & Major scale we can find that any Major chord is your Root,Third & Fifth or 1+3+5. Same applies for Minor chords just use the Minor scale. So all basic chords are only three notes. Wow. Well what a Maj7 chord? Keep your 1,3,5 & add the 7. Well what about a Dominate 7 like E7 or G7? Just simply flatten the seventh note using the Major scale which would look like this 1,3,5,b7. What about those Jazzy 11ths or add9 chords? Just keep counting past 8 Laughing

or remember 8 is your octave so your 9 is the same note as 2. Once you get it in your head it becomes very simple to look at a chord chart for a song see something you don't know & within a few seconds you know what it is & just decided on where to play it at on the guitar. And for my bro DirtyHeritage i'm gonna touch on thirds. Thirds define the character of the scale or chord. Playing thirds like chords can be fun too. Take this formula using the Major scale 1+3+8 it is a Major Triad. Flatten the third it now becomes a Minor triad. You can even play 1+3 as a Diad and it's just as effective. Same rule applies flatten the third & it becomes Minor.
One last thing & i'm done. Tired of applying the modes or anything we've learned in C but still scared of #'s or b's? Here's a trick to work them in one at a time using the circle of fifths. In C play the Major scale & stop on the fifth. Since there isn't any sharps or flats yet just run through the alphabet & you should land on G. Start using the modes & scales you've learned in G & you've only added one # or b. In this case F# or Gb either way same thing. Not enough #'s or b's for ya? Use the same trick with the circle of fifths. Now you're in D with F# & C#. Still not enough? Use it again. You can do this until you reach the key of B I believe.

Well kids that's all i got for now if ya got any questions PM or ask them here. Hope I've been able to help you learn something useful for your playing. LIVE LONG & PROSPER & BANG YO HEAD!!!!!!!!!!!!!!!!

Joined: 26 Feb 2007 Posts: 1751 Location: Ontario, Canada

I love guitar theory! Know a decent bit myself but I nevermind picking up a bit more.

Joined: 28 Sep 2012 Posts: 379 Location: Kent, UK

Theory is good to know, but if you rely on it too much thats when your playing goes sterile and boring I reckon. And you'll think about the notes too much instead of just feeling it.

Joined: 21 Jul 2008 Posts: 635 Location: Yorkshire, England

Having greater theoretical knowledge gives you more opportunities to be creative, actually understanding what you are playing helps you push the limits.

Joined: 29 Nov 2010 Posts: 884 Location: Dutch South

NorthernMonkey wrote:

Having greater theoretical knowledge gives you more opportunities to be creative, actually understanding what you are playing helps you push the limits.

this!!

Joined: 19 Oct 2009 Posts: 2902 Location: Norway

Yes, but not just guitar theory. Music theory in general.
Though, some guitar theory lessons wouldn't hurt Wink

Joined: 27 Sep 2010 Posts: 1275 Location: Easton Ma

IN.

Posted: Mon Feb 18, 2013 2:31 pm

DirtyHeritage wrote:

NorthernMonkey wrote:

Having greater theoretical knowledge gives you more opportunities to be creative, actually understanding what you are playing helps you push the limits.

this!!

Absolutely this. Even the slightest smidgeon of musical theory opens countless doors for your playing and your musicianship. It's just more colours for your palette; how could anybody who's serious about their music refuse? Mr. Green

Tute on, sir! Tute on!

http://www.youtube.com/watch?v=qG4NaRkFYmk

Joined: 29 Nov 2010 Posts: 884 Location: Dutch South

well i'd sure wanna know how to properly use 3rds, and modes, i know the shapes, but not how it works, catch my drift?

great idea

Joined: 22 Feb 2008 Posts: 837

Im in man...

Joined: 15 Sep 2010 Posts: 1002 Location: Rock Hill,SC

well that's enough for me lol i'll post an update soon

Joined: 15 Sep 2010 Posts: 1002 Location: Rock Hill,SC

DirtyHeritage wrote:

well i'd sure wanna know how to properly use 3rds, and modes, i know the shapes, but not how it works, catch my drift?

great idea

i gotcha covered bro

Joined: 23 Nov 2005 Posts: 8293 Location: Ontario, Canada

I need this. I tried learining on my own and didn;t get very far with it. I haven't the sleightest clue how to use any scale besides a major and minor pentatonic.

Joined: 15 Sep 2010 Posts: 1002 Location: Rock Hill,SC

alright before i get started i need to know if the green throws you guys off or makes it hard to read. And Dennis i gotcha covered bro it's a few posts away but i gotcha.

Joined: 25 Mar 2006 Posts: 5765 Location: Joisey

Metalfac3 wrote:

alright before i get started i need to know if the green throws you guys off or makes it hard to read. And Dennis i gotcha covered bro it's a few posts away but i gotcha.

Yeah, the green is a bit tough to read. Otherwise - THANKS for this, man! Well explained.

Posted: Tue Feb 19, 2013 6:45 pm

It's not 'guitar theory', but 'music theory', as it applies to all instruments. BTW, there was no mention of any 'modes' when I learned music. It was all 'keys' (major, minor, seventh, dominate seventh, minor seventh, etc., diminished, augmented, etc., etc.). I learned all that stuff then, but don't care about 'modes' now.

(I'm also 63 - 64 in a few weeks and can't remember the 'mode' stuff.) Laughing

Joined: 15 Sep 2010 Posts: 1002 Location: Rock Hill,SC

60srocker wrote:

It's not 'guitar theory', but 'music theory', as it applies to all instruments. BTW, there was no mention of any 'modes' when I learned music. It was all 'keys' (major, minor, seventh, dominate seventh, minor seventh, etc., diminished, augmented, etc., etc.). I learned all that stuff then, but don't care about 'modes' now.

(I'm also 63 - 64 in a few weeks and can't remember the 'mode' stuff.) Laughing

I know what's called sir Wink

I had it typed out before I posted that it was music theory but I called it guitar theory instead because that's what I was teaching it on. Must've deleted it on the update

Joined: 27 Sep 2010 Posts: 1275 Location: Easton Ma

Im not use to starting with my middle finger, this is great.

Thanks!!

Joined: 15 Sep 2010 Posts: 1002 Location: Rock Hill,SC

Part II is up!

Joined: 15 Sep 2010 Posts: 1002 Location: Rock Hill,SC

Part III is up

Joined: 20 Dec 2004 Posts: 855 Location: Illinois

great thread... thanks for posting Very Happy

Joined: 29 Nov 2010 Posts: 884 Location: Dutch South

great thread!!! much appreciated info

Joined: 15 Sep 2010 Posts: 1002 Location: Rock Hill,SC

thanks for the kind words fella's Cool

Joined: 27 Feb 2012 Posts: 1252 Location: New York, NY

I'm a little late to the party, but I'm in! Good stuff, thanks for sharing!

Joined: 29 Nov 2010 Posts: 884 Location: Dutch South

doing this while i recover from minor carpall tunnel, gotta keep busy Laughing

Posted: Sat Mar 09, 2013 5:01 pm

Thanks for the info.

I've found some really good general music theory teachers on you tube.

The first is topdoginuk. The second is John oswin. Both have about 30 or so videos that are well done. I'd suggest topdoginuk first then John oswin.

I hope that helps....

Joined: 29 Nov 2010 Posts: 884 Location: Dutch South

so let me get this straight

i can link these the same way i can link the 5 modes of the pentatonic?

Joined: 25 Jun 2012 Posts: 15 Location: Maple Valley, WA

Wow, this is awesome! I've always had a tough time with this stuff.

Thank you!! In for future lessons Smile

Joined: 15 Sep 2010 Posts: 1002 Location: Rock Hill,SC

DirtyHeritage wrote:

so let me get this straight

i can link these the same way i can link the 5 modes of the pentatonic?

i dont know how youre linking them but if it its correct then yes Laughing

heres a nice lil run you can do in G

this also makes for a fun legato run too. pick each group twice before moving on except the slide only do that once lol Wink

i use a one,two,four finger pattern & tap the last note on the 12th fret. you can either run it down or switch to whatever you want. its a fun lick either way. enjoy!

Posted: Fri Mar 15, 2013 4:59 pm

Dude, get rid of that green font Mad

Great thread, a little theory goes a long way. You'd be surprised how natural it comes with just a bit of practice

Joined: 15 Sep 2010 Posts: 1002 Location: Rock Hill,SC

Northwinds wrote:

Dude, get rid of that green font Mad

Great thread, a little theory goes a long way. You'd be surprised how natural it comes with just a bit of practice

done

Joined: 18 Apr 2008 Posts: 244 Location: Tampa, FL

Definitely a cool thread and much appreciated! Wink

Joined: 15 Sep 2010 Posts: 1002 Location: Rock Hill,SC

well its been awhile and ran across this the other day thought id post it in here

Chord Formulas

( ) = OPTIONAL NOTE
MAJOR
Chord Type Symbol Formula
Major M, Maj 1-3-5
Added Fourth add4 1-3-4-5
Sixth 6 1-3-5-6
Six Nine 6/9 1-3-5-6-9
Major 7th Maj7 1-3-5-7
Major Ninth Maj9 1-3-5-7-9
Major Eleventh Maj11 1-3-5-7- (9)-11
Major Thirteenth Maj13 1-3-5-7-(9)-(11)-13
Major seven
sharp eleventh Maj7#11 1-3-5-7- #11
Major Flat Five - 1-3-b5

MINOR
Chord Type Symbol Formula
Minor m 1-b3-5
Minor added fourth madd4 1-b3-4-5
Minor sixth m6 1-b3-5-6
Minor seventh m7 1-b3-5-b7
Minor added ninth madd9 1-b3-5-9
Minor six add nine m6/9 1-b3-5-6-9
Minor ninth m9 1-b3-5-b7-9
Minor eleventh m11 1-b3-5-b7-(9)-11
Minor thirteenth m13 1-b3-5-b7-(9)-(11)-13
Minor/Major seventh m/Maj7 1-b3-5-7
Minor/Major ninth m/Maj9 1-b3-5-7-9
Minor/Major eleventh m/Maj11 1-b3-5-7-(9)-11
Minor/Major thirteenth m/Maj13 1-b3-5-7-(9)-(11)-13
Minor seven flat fifth m7-5 or ø 1-b3-b5-b7
DOMINANT
Chord Type Symbol Formula
Seventh 7 1-3-5-b7
Ninth 9 1-3-5-b7-9
Eleventh 11 1-(3)-5-b7-(9)-11
Thirteenth 13 1-3-5-b7-(9)-(11)-13
Seven sharp five 7#5 1-3-#5-b7
Seven flat five 7b5 1-3-b5-b7
Seven flat ninth 7b9 1-3-5-b7-b9
Seven sharp ninth 7#9 1-3-5-b7-#9
Nine sharp five 9#5 1-3-#5-b7-9
Nine flat five 9b5 1-3-b5-b7-9
Seven sharp five sharp nine 7#5#9 1-3-#5-b7-#9
Seven sharp five flat nine 7#5b9 1-3-#5-b7-b9
Seven flat five sharp nine 7b5#9 1-3-b5-b7-#9
Seven flat five flat nine 7b5b9 1-3-b5-b7-b9
Seven sharp eleven 7#11 1-3-5-b7-#11

Symmetrical
Diminished dim (° ) 1-b3-b5
Diminished Seventh dim7 (°7) 1-b3-b5-bb7
Augmented aug (+) 1-3-#5

Miscellaneous
This section contains diadic "fifth" (2 note 'chords'),
the "Sus" chords, and the #11. A #11 contains a perfect fifth
as well as a sharp eleven, (which is the same note as a flat five but an octave higher).
These chords do not have a Major or Minor tonality, since there is no 3rd. However the #11 chord does have a Lydian sound.
Chord Type Symbol Formula
Fifth 5 1-5
Flat Fifth -5 1-b5
Suspended Fourth sus4 1-4-5
Suspended Second sus2 1-2(9)-5
Sharp Eleven #11 1-5-#11

Joined: 29 Apr 2013 Posts: 60 Location: Ontario, Canada

Thank you ...and keep it comin' if you can \m/